Easy Guide to Serging Fine Fabrics

SEW,I N G COM PAN ION li B R A R Y

Easy Guidet

Sergi Fine F;��

Easy Guide to

Serging Fine Fabrics

Kitty Benton

ITIThe'P<lUnton Press

Cover Photo: Boyd Hagen

Publisher: Su zanne La Rosa

Acquisitions Editor: Jolynn Gower

Publishing Coordinator: Sarah Coe

Editors: Eileen Hanson, M ary Christian, Ruth Dobsevage

Designer: Jodie Delohery

Layout Artist: Carol Singer

Photographers: Scott Phillips, Boyd Hagen

Typeface: Bookman/Optima

Paper: 70-lb. Warren Patina Matte

Printer: Quebecor Printing/Hawkins, New Canton, Tennessee

Taunton BOOKS & VIDEOS

for fellow enthusiasts

© 1997 by The Taunton Press, Inc.

All rights reserved.

First printing: 1997

Printed in the United States of America

A THREADS Book

THREADS® is a trademark of The Taunton Press, Inc.,

registered in the U .S. Pat�nt and Trademark Office.

The Taunton Press, 63 South Main Street, Box 5506,

Newtown, CT 06470-5506

Library of Congress Cataloging-in-Publication Data

Benton, Kitty.

Easy guide to serging fme fabrics / Kitty Benton.

p. cm. - (Sewing companion libr ary)

"A Threads book" - T.p. verso.

Includes indexes.

ISBN 1-56158-090-2

1. Serging. I. Title. II. Series.

TT713.B43 1997

646.2'044 - dc20 95-29413

CIP

For Charlie and Hank

No book becomes a reality without the

dedicated expertise of the publishing

staff. The staff at The Taunton Press

has been enormously and universally

helpful. I would like to thank them all.

But especially. I would like to thank

Eileen Hanson for her early faith in

me and devotion to this project; Mary

Christian for editing complex technical

prose and m aking it readable; and

Ruth Dobsevage for her attention to

detail. wording. and layout. All three

have my lasting appreciation for their

patience. humor. and perseverance.

Deepest thanks are also due to the

quick mind. pleasant disposition. and

never-failing accuracy of Eva KUi. who

sewed many of the samples shown in

the photographs.

Introduction

4

The serger can be intimidating at first glance. There it sits with all

those dials, spindles, needles, and inner gears, like an ugly toad

on your sewing table. But once you fall in love with it, you will

recognize it to be the true prince of the sewing room.

My own love affair with sergers began when my children "outgrew

me" and I went back to school in mid-life to take on the challenge

of expanding a satisJYing home-sewing hobby into a career as a

professional designer. Part of my education was learning all about

the specialized industrial machines. Some were scary monsters

that clanked out buttonholes, some were intriguing puzzles such

as the multi-needle shirring machine (with 45 needles to thread!).

But the one I truly longed for at home was the overlock (or

merrow machine, as it's still called in the industry), the factory

staple that overcasts, trims, and stitches the seam all at once.

At the same time, about ten years ago, imported sewing

machines hit the American home-sewing market and caused

such a sensation that home overlockers, or sergers, soon followed

as companion machines-much as automatic dryers followed

washing machines. In the decade since, the creative energy

found in home sewing workrooms has uncovered exciting

new capabilities for the serger and triggered many

added conveniences.

Why bother with a serger? Because it's fast! With a serger, you

can stitch, trim, and overcast a seam in one step instead of three,

and in less than half the time of a conventional sewing machine.

This remarkable machine cuts hours of precious sewing time from

large and small projects, and will often give you more professional

results than a conventional sewing machine.

Most people associate the serger with utilitarian knits and

sportswear, yet it has a much wider application. The beauty of the

serger is how it can handle fine fabrics. The firmness of the grip

between presser foot and throat plate will help you control

slippery fabrics such as lace and chiffon, and the machine zips

through tiny, accurate seams in delicate fabrics, making it ideal

for labor-intensive dressmaking chores, such as making large

circular hems on tiered skirts, and fine heirloom looks, such as

joining rows and rows of lace insertion for a christening dress.

If you already own a serger, let me share my excitement and

professional secrets with you to help you discover new ways of

getting the most from your machine. If you are still thinking

about buying one, this guide, based on years of personal

experience and experimentation, will help you decide which

features and threading variations will best serve your needs.

Each chapter in this book addresses progressive steps to

mastering serging with fine fabrics, so whether you are a new or

an experienced serger, you will be able to launch right into hands

on techniques that you can adapt to your own projects. You can

go through the whole book for a complete course in fine serging,

or, once having mastered the basics, you can skip ahead to the

stitch treatments you can immediately apply to a garment.

Chapter 1 describes the advantages of a serger and how the parts

work together to form stitches. It explains initial threading and

tension adjustments, as well as optional features and accessories.

You'll learn easy maintenance procedures and simple

troubleshooting to keep your serger at peak performance.

Chapter 2 helps you to select compatible threads and needles for

your fabriCS, prepare the fabric for stitching, and take advantage

of helpful products and notions.

In Chapter 3, you'll learn to master useful serger skills, including

starting and finishing seams, and sewing curves, corners, bias

areas, and circles. Then you'll learn basic seams, finishes, and

hems for all types of fine fabrics.

Chapter 4 covers more specialized applications so you can

produce elegant self-ribbing for fine knits, add tailoring touches

to crisp wovens, create festive detailing for special-occasion

garments, and seam laces for delicate lingerie and heirloom

treatments. Four simple projects let you use your serging skills

right away.

At the end of the book is a handy photo index that will help you

to review, compare, and locate the finishes introduced in the main

text. This section will boost your creativity with the serger

because you will see at a glance the various treatments you can

use, from utility seaming to special decorative effects and

monogramming. Setting boxes tell you just how to thread and

adjust your serger for the treatments shown in the photos. You

will also see the decorative potential of fabrics, threads, and

edgings and design them into your projects.

Introduction 5

EASY GUIDE TO SERGING FINE FABRICS

Demys tifying the Serger

How a Serger Works Anatomy of a Serger

Getting the Most from Your Machine Optional Features

Getting Ready to Sew Initial Threading S tarting to Stitch Adjusting the Tensions Adjusting the Cutting Width Adjusting the Stitch Length Hints for Trouble-Free Sewing

8

10 10 14 16

18 18 19 20 21 22 23

------------------------------------------------24

Fabrics, Thread,and Notions

Selecting Fabrics Knits

Choosing Thread Decorative Threads

Selecting Needles

Basting Tec hniques Pinning

Taping Glue Basting Starching

Other Helpful Products Bias Tricot Fusible Thread Water-Soluble Stabilizer

26 26

28 30

31

32 32 33 33 33

34 34 34 35

Skills and Seams

Using Your Knowledge

Building Serger Skills Understanding Where the Knives Cut Mastering Where the Needle Sews Manipulating the Fabric in Special Situations Sewing Taut Machine Easing Holding Grain Ending Seams Overstitching at the Start of a Seam Overstitching at the End of a Seam Sewing Elastic Gathering

Seams, Finishes, and Hems Seams Seam Finishes Hems

Working with Knits An Elegant Knit Top

Tailored Finishes Tucking Thread Accents Decorative Ed ging Decorative Flatiocking Decorative Ch aining without Fabric Time-Saving Construction Aids

Festive De tailing Fancy Hems Lace Applique Gathered Ruffles Bias Tubing

Working with Delicate Fabrics Camisole and Tap Pants

Photo Index

Index

36

38 39 41 42 49 49 49 50 51 51 52 54

55 56 59 61

64

66 67

70 70 70 73 73 74 77

78 78 81 83 84

88 90

96

110

8

Demystifying the Serger

Learning how the serger differs from your conventional sewing

machine is the key to helping you identifY its advantages over

conventional machines and its potential for fine sewing.

Like conventional sewing machines, sergers have presser feet,

feed dogs, flywheels, stitch-length controls, thread cutters, foot

pedals, power connections, and lights. But they have no bobbins!

And that means no winding, no running out of thread, no

spaghetti-mop tangles beneath the fabric or in the bobbin case.

Another important difference is the feed mechanism. The

interplay between the serger's long presser foot and the narrow

feed dog holds fabric so securely that it feeds evenly with much

less intervention than a conventional machine requires. Accurate

feeding reduces the likelihood of stretching and distortion, so

seams have a uniform, professional appearance.

For everyday utility sewing, the serger's fully enclosed seam

finishes are much neater and more durable than conventional

machine finishes, and they don't distort curved areas such as

bias seams and neck facings. You can quickly and accurately

seam delicate fabrics and roll them into tiny hems because the

long foot and narrow feed dog keep tiny seam allowances from

snagging in the feed dog.

The serger's flexible looper stitches have "give," so seams are

stronger and don't break when stressed or stretched in knits. You

can apply a staggering variety of utilitarian and decorative stitches

to any fabric, from gossamer silk chiffons to sturdy action knits,

and to any task, from tiny heirloom seams to fast blind hems

for draperies.

Sergers even chain threads without fabric (a handy way to make

belt and button loops) so you can start stitching without placing

the needle exactly at the starting point of the seam and you can

chain off the fabric at the end of the seam without tangling.

How a Serger Works

10 Demysti:(ying the Serger

Sergers work on a very simple principle. First the knives

mounted on the machine neatly trim the edge oj the jabric,

then the needles and loopers overcast it with thread in a

protective casing.

Anatomy of a Serger

Although there are many different models and makes of sergers,

all have a shelf at the back of the square frame (on some models,

a convenient c arrying handle is built right into the frame) to hold

spools or cones of thread on three, four, or five spindles,

depending on the capability of the model. An extension bar raises

each thread above the spools, allowing it to unwind evenly from

the spool and feed smoothly into the primary thread gUides

without tangling.

\ \ \

Two sets of color-coded thread gUides control the flow of thread

from the spool to the needles. The first (primary) set gUides the

thread from the spool to the tension wheel. The secondary guides,

on the front of the serger, lead the thread from the tension wheel

into the needle or looper.

Two knife blades trim the edge of the fabric as you stitch. In many

models, the upper blade is mounted on a shaft above the throat

plate to the right of the needles. The lower blade is housed in

front of the loopers to the right of the feed dog on the throat plate.

As you stitch, the upper knife blade moves alongside the

stationary lower blade in a scissors-like cutting action. The

moving knife blade is usually spring-mounted to maintain

constant pressure against the stationary knife blade.

Front view of a serger. Threads pass

over the extension bar and feed

through primary thread guides

before entering the tension wheels.

Upper and lower knife blades trim

the fabric. (Presser foot removed

for clarity.)

How a Serger Works 1 1

Serger feed dogs have two sets

of teeth. (Presser foot removed

for clarity. )

The upper knife blade can be

rotated out of position when no

cutting is needed.

12 Demystifying the Serger

The upper knife blade can be rotated out of position when you do

not want to trim the fabric or when stitching prefinished edges

such as lace and ribbon.

Serger feed dogs are similar to those of conventional machines.

but they have two sets of teeth. front and rear. The teeth of the

front feed dog gUide the fabric under the toe of the presser foot.

past the upper and lower knives for trimming.

The loopers move back and forth. simultaneously casting thread

loops over the upper and lower surfaces of the fabric that

interlock at the trimmed edge. The lower looper. positioned to the

left and slightly below the upper looper. in most machines is

threaded through the tension dial farthest to the right and moves

back and forth from left to right. The upper looper. in most

machines threaded through the tension dial immediately to the

left of the lower looper. is located behind it. near the underside of

the throat plate and needles.

The needles move up and down through the fabric as in

conventional machines. but since the serger has no bobbins. the

needles simply anchor the looper threads to each side of the

fabric rather than interlock with bobbin threads to form stitches.

When both needles are used. the left needle anchors the upper

and lower thread loops on the seam line. while the right needle

sews an additional safety seam. (When either needle is used

alone. the unthreaded needle is removed and the safety seam

is omitted.)

Stitch fingers, set into the stitch bed beneath each needle,

support the thread loops as they form. Loops overlock around the

two right stitch fingers when the right needle is used alone. The

left stitch finger supports wider loops when the left needle is used

alone and defines the safety seam when both needles are used

together. A third. or overlock, stitch finger supports the loops as

they interlock over the trimmed edge of the fabric.

After the stitches have been secured by the needles, the rear feed

dog teeth slide the stitches off the stitch fingers.

Upper and lower loopers cast

thread over the top and bottom

surfaces of the fabric. Needles

anchor the loops. Either needle

may be removed to adjust width

of stitching. (Presser foot removed

for clarity.)

Stitch fingers set into the stitch bed

support the loops as they form.

(Presser foot removed for clarity.)

How a Serger Works 13

Getting the Most from Your Machine

14 DemystifYing the Serger

There are seven variables that control the appearance

and function of the stitches and give the serger its

extraordinary versatility.

Fabric: The weight and stretchability of the fabric affect the

appearance of the stitches (p. 26).

Thread: Choose threads that are heavy, light, smooth, textured,

utility, or decorative (p. 28).

Thread tension: The degree of tension on the needle and looper

threads will dramatically change the look of the stitches (p. 20).

Numbers of threads: For varying effects and depending on your

model, all needles and loopers may be threaded, or selected

needles and loopers may be left unthreaded (p.15) .

Stitch width: Use wider stitch widths for more coverage,

narrower for less.

Stitch length: Use longer stitch lengths for less coverage, shorter

lengths for denser stitching (p. 22).

Cutting width: Adjust the distance between the trimmed edge

and the needles (p. 2 1 ) to make the overcast edges either lie flat or

roll into tiny hems.

TH READING OPTIONS

The greatest d ifferences among serger models occur i n thread ing options. F ive-thread models are ava i l able with th ree needles and two loopers or two needles and three loopers. F ive-thread models can usual l y adapt to fou r-, th ree-, and even two-thread uses, but s i nce five-thread serging is most su itable for active wear and sem i- i ndustr ia l uses, it is beyond the scope of th is book.

Needle Options Th ree- and four-thread convert ible models stitch w ith th ree or four threads. Both need l es are used for fourthread appl ications, and either need le may be removed for th ree-thread appl ications. Remove the right need le for w ider coverage on heavier fabrics. Remove the left need le for narrower coverage on l ighter fabrics and rol led hems.

For t i ny seams, remove the left need le and i nvoke rol l -hem setti ngs with the narrowest cutt i ng width and normal thread tension.

Looper Options I n addit ion to using th ree- and four-thread app l ications, with two-, th ree-, and fou r-thread serger models you can bypass the u pper looper and use e ither need le to stitch with two threads.

The photo below shows some of the d i fferent l ooks you can ach ieve by changing the threading setup on the serger (see the chart below for part icul ars) . The top sample in each color was stitched w ith the rol lhem setti ng, y ie ld ing a narrower stitch; the bottom sample was stitched w ith the overlock fi nger s l id i nto posit ion, y ie ld ing a w ider stitch.

You can change the look of your stitching by how

you thread the serger. The setups that produced these

stitches are described in the chart below.

Sample Color Left Needle Right Needle Upper Looper Lower Looper

Wh ite removed x

B l ue removed x

Brown x removed

Pink x x

bypassed x

x x

x x

x x

Getting the Most from Your Machine 15


Puckering can be remedied by decreasing the differential feed.

Optional Features

Differential feed and adjustable pressure-foot pressure are offered

as options on many sergers. Understanding how they work will

help you realize the full capabilities of your serger or help you

evaluate different models when making a purchase.

Dilferential Feed Because the serger has two feed dogs, the

front and rear teeth can be set at different speeds. When the

speeds are the same (dial at N or at 1, depending on the model) ,

the fabric enters and leaves the stitch bed at the same speed.

If fabric tends to pucker, select a lower-than-normal setting. This

slows the front feed dog, pulling the fabric under the presser foot,

similar to sewing taut on a conventional machine.

TH ROAT PLATES AN D PRESSER FEET

Accessories for the serger include specialized throat plates and

presser feet for specific applications.

Various specia l ized throat plates and presser feet a l low a wide range

of appl ications such as rol l hemmi ng; del icate seaming; bl i nd hemmi ng; gathering; and applying elast ic, b ind i ng, or cord i ng. Some

sergers are fu l l y automated and requ i re no change of presser feet or throat plates for these appl ications, whi le others requ i re certa i n adjustments, sometimes inc lud i ng a change o f throat p l ate and presser foot. Usu a l l y cost accompan ies convenience, a l though convenience can be worth paying for i n the l ong run.

If the edge of the fabric is wavy and stretched, select a higher

than-normal setting. When the differential feed is set above

normal, the front teeth move more quickly than the rear teeth,

pushing the fabric under the presser foot and preventing knits

and bias areas from stretching during stitching.

Presser-Foot Pressure Some models allow you to change the

pressure on the presser foot. Lighten the pressure to

accommodate thicker fabrics or to avoid teeth tracks on sheers.

Increase the pressure to keep lighter fabrics from slipping.

A wav}-j stretched edge can be

remedied by increasing the

differential feed.

Getting the Most from Your Machine 17

Getting Ready to Sew

Initial threading of a serger is

simpler if you select thread

that matches the color of the

tension wheels.

18 DemystifYing the Serger

If you are new to serging, you are probably a little

intimidated by the intricacies of the machine. Threading

the machine needn't be daunting, though, if you take your

time and follow instructions. As you practice stitching,

you'll gain confidence and soon will be able to use serging

in your fine sewing projects.

Initial Threading

Most manufacturers make threading easier by color coding

primary gUides and tension wheels. If you've never threaded a

serger before. the task will be simpler if you select spools of

ordinary sewing thread to match the color codes on your

machine. Study the threading diagrams in your instruction

booklet and use the long tweezers supplied in the accessory pack

to help thread the loopers. Follow the threading instructions

carefully. Most stitching problems resultjrom incorrect threading.

If a foam thread cushion was supplied, place it on the shelf

beneath the spools. If you are using conventional machine spools

rather than large cones of specialized serger thread, use the small

plastic discs on top of the spools to extend beyond the rim of the

spool and prevent the strands from snagging in the thread notch.

If you are using the larger cones for your initial threading, use the

net sleeves to prevent the thread from unreeling too quickly.

Starting to Stitch

Select a medium-weight, crisp, woven fabric in a solid color that

contrasts well with your thread choices.

Set the controls for needle and looper tensions at normal range as

indicated by your manufacturer, and select normal (or medium)

stitch settings for length, cutting width, and other optional

features such as differential feed and presser-foot pressure.

Sewing without fabriC, chain a thread tail of 2 in. or 3 in. to

prevent thread and fabric jams. Watch the thread chain to be sure

it doesn't curl around and re-enter the stitch bed.

Stop sewing the thread chain while you position your fabric just

in front of the presser-foot toe.

Resume sewing, letting the machine gUide the fabric under

the foot.

Chain a 3-in. to 5-in. long thread tail off the edge of the fabric

before cutting the thread.

TI PS FOR G U I DI NG TH E FABRIC

Begin and end your stitching with a

short thread chain.

• Let the feed dog guide the fabric: s im ply use your r ight hand to keep the right edge of the fabric level when it approaches the knives. Pl ace your left hand flat on the fabric to the left of the needles and let it travel with the fabric as it approaches the feed dog; stop to repos it ion every few inches .

• Learn to focus you r eyes about 2 i n . in front of the presser foot to give yourself t ime to make feed i ng corrections and adjustments. After the fabric enters the stitch bed and is h idden by the foot, i t is too late to make corrections without d istorting the seam or caus ing u neven stitchi ng.

Getting Ready to Sew 19

COMMON TENSION PROBLEMS

1 If lower-looper threads

straggle over the edge of the

fabric and are visible from the top

side, the tensions of the upper

and lower looper are not

balanced. Tighten the lower

looper tension in small

increments before releasing the

tension of the upper looper.

Properly adjusted serger stitches.


2 If upper-looper stitches are visible

on the underside of the fabric, the

tensions of the loopers are not

balanced. Tighten the upper-looper

tension in small increments, and

release the lower-looper tension

if necessary.

3 If needle threads form small

beadlike loops of thread on the

underside of the fabric, the

needle threads are too loose.

Tighten the appropriate needle

tension slightly. If needle threads

are too tight, the stitches will

pucker. Loosen the appropriate

tension dial.

Adjusting the Tensions

Experiment with changing tensions and stitch lengths while

chaining without fabric so you can clearly see the response to

each change. You will see dramatic differences in the chain as it

responds to each new setting. For best results:

• Follow the manufacturer's recommended settings.

• Adjust one tension wheel at a time, then check results.

• Make small, incremental changes.

• Check that looper threads interlock at edge of fabric.

• Make tensions of both loopers approximately equal.

For the widest cutting width, move the blade housing

all the way to the right.

For the narrowest cutting width, move the blade

housing all the way to the left.

If the fabric twists under the stitches, the cutting width

is too wide.

If loops form in the air rather than at the edge of the

fabric, the cutting width is too narrow.

Adjusting the Cutting Width

The cutting width is the distance between the knife blades and

the needles. It is controlled by a knob or dial that moves the

whole blade housing outward to the right, away from the needles,

or inward to the left, closer to them. You will need to fine-tune the

cutting width along with the tensions to achieve the proper effect

with each fabric.

If fabric twists and curls underneath the stitches, the cutting

width is too wide. Follow the manufacturer's instructions to

decrease cutting width, and watch the lower blade housing move

to the left.

If the loops overlock in the air rather than at the edge of the

fabric, the cutting width is too narrow. Follow the manufacturer's

instructions to increase cutting width, and watch the blade

housing move to the right.

Getting Ready to Sew 2 1

REPLACING NEEDLES AN D KN IVES

You may not be able to tel l i f a need le is d u l l , hooked, or bent just by looki ng at it, but a bad need le w i l l affect sewing performance and cause threads to break more easi Iy. Therefore it's a good idea to cha nge needles freq uently, as recommended by the manufactu rer. Genera l l y, need les w i l l remain sharp for about 20 hou rs of sewing t ime. For a more complete description of need les, see p. 31 .

To cha nge a needle:

Tu rn the flywheel to raise the needles to their h ighest posit ion.

Swi ng the foot out to the side for easier access to the needle, if your model perm its th is .

A tweezers and small screwdriver are handy for

changing a needle.

Remove the thread supply from the need le.

Loosen the screw above the need le and remove it, using tweezers, or a specia l need le holder if provided .

Insert a need le the man ufacturer recommends, fol lowing the previous steps i n reverse.

Sma l l tears and frayed portions of the cut fabric edge are a sign that the lower knife blade has become n icked or d u l l . Most manufactu rers i nc l ude a replacement lower bl ade in the accessory kit . Change the blade accord i ng to the manufacturer's instructions.

To change a blade, follow the manufacturer's

instructions.

Adjusting the Stitch Length


As with conventional sewing machines, the higher the stitch

length number, the longer the stitch. Gradually increase the

stitch length while sewing to see the effect of wider spacing,

then decrease the stitch length to see the fuller coverage of

dense stitches.

Hints for Trouble-Free Se wing

Keeping your serger lint free and knowing how to unjam it when

the thread snarls are important if you want your serger to run

smoothly. It's also a good idea to perform periodic maintenance,

as described in the machine manual.

Removing Lint Sergers make a great deal of fabric dust, which

can become trapped in the feed dogs. Routinely replace needles

(p. 22) and remove dust. If inadvertently sewn into the seam, a

clump of lint can be a real chore to remove.

To keep the machine clean and lint free, frequently open the panel

door and clean the dust away from the looper mechanisms,

cutting blades, and feed dogs. A small brush for this purpose

is usually included with the accessories, but canisters of

compressed air, sold at computer-supply stores, are even better.

To keep household dust out of the machine, cover it when not

in use.

Unjamming a Serger If the machine jams, stop sewing

immediately. Never try to force the machine or sew your way

through; this could bend the loopers out of alignment and

permanently damage your serger. If there is any play in the

flywheel, gently try to raise the needle and cut the jammed

threads away. If necessary, remove the needle from its socket. You

can also open the front plate and use a seam ripper to free the

jammed threads from underneath. Before you resume sewing, be

sure that you have cleared away all stray threads, that the needle

has not been bent, and that the machine is rethreaded correctly.

A blast of compressed air will

help remove dust and lint from

inside the serger.

When the machine jams, stop

sewing and remove all thread snags

with a seam ripper, as shown, or

other small tool. (Presser foot

removed for clarity.)

Getting Ready to Sew 23

24

Fabrics, Thread, and Notions

The first choice you make when planning any proj ect is fabric.

Eye appeal, function, and the styling of the garment you plan

are the primary factors in your choice, but especially when

serging, the decisions you make concerning treads and notions

will be an important part of the appearance and success of your

finished proj ect.

Will you make fabulously tiny seams a design feature of serged

lingerie, or highlight a pressed wool jacket with a bright edging?

Will you have serged decorative sportswear details such as

flatlocked seams or hems? Will you intensifY the basic fabric color

with harmonizing threads or accent it with a well-chosen

contrast? Will you use thick threads such as pearl cotton or wooly

nylon to highlight fabric texture, or shiny ribbons and glossy

rayons or metallics to bring out the glamour of festive fabrics?

Even if you originally planned to use the serger for quick and

efficient seaming, this chapter will give old hands and beginners

alike many new reasons to keep the serger in mind when buying

new patterns or adding flair to tried-and-true favorites.

Selecting Fabrics

All fabrics of all weights, whether woven or knit, are

sUitable for serging. In fact, with just a few twists of the

dials, the serger can actually make some of the more

"difficult" fabrics easy to work with. After selecting your

fabrics, select needles and thread appropriate to the

weight and weave.

Lightweight fabrics are woven from thinly spun yarns in fairly

open weaves. Cottons, silks, synthetiCS, and some wools fall into

this group. With lightweight fabrics, use thin needles and

lightweight threads for construction and embellishment.

Medium-weight fabrics can be of any fiber (silk, cotton, wool, or

synthetiC) but the yarns are spun into heaver plies and more

densely packed into the weave. Needles and threads should

correspond to the weight of the fabric.

Hea vyweight fabrics have the thickest yarns and often very dense

weaves, such as twill or pile. Use heavier needles and threads to

construct and decorate these fabrics.

Knits

Like woven fabrics, knits can be light, medium, or heavy,

according to the weight and thickness of the yarn and the density

of the knit. Knits can also be of any fiber, natural or synthetic.

The lightest knits are single knits, in which the wrong side looks

different from the right and a single row of loops will appear on

the edge of the fabric as it unravels. Double knits have two right

sides and reveal a double row of loops as they unravel. Jerseys,

matte jerseys, interlocks, ribbing, tricots, fleeces, sweater knits,

spandex, Lycra, and panne velvets and velours are all knits that

lend themselves to successful serging.

26 Fabrics, Thread, and Notions

Lightweight fabrics.

Medium-weight fabrics.

Heavyweight fabrics.

Selecting Fabrics 27

Choosing Thread

Select threads Jor Junction and color. Utility thread colors

Jor seams and seam finishes should blend into the Jabric

as much as possible. Decorative threads to highlight and

embellish can be in matching or contrasting shades.

The same spools you use on your conventional machine can be

used successfully on your serger. Such threads include cotton

wrapped polyester, all cotton, and all polyester. Specialized serger

threads such as woolly nylon, two-ply polyester, and invisible

nylon filament threads come on cones. Woolly nylon is a soft,

comfortable, stretchy thread that is strong enough to be sewn

under high tension, making it suitable for delicate seams and

rolled hems. (Loosen thread tensions if you want the woolly nylon

to fluff up as a filler thread.) Polyester and nylon filament threads

also tolerate high tensions for rolled hems, and are thin enough to

blend with most colors for less visible stitching.


CHANG I NG TH READS

The only t ime you need to unthread a need le or looper tota l ly i s when you are bypassi ng i t . To change threads, s imply leave the mac h i ne threaded, tie in the new color, as shown in the four photos below, and cha i n without fabric u nt i l a l l the new threads have passed through the eyes and into the chain.

A s imple overhand knot is a l l that is needed to t ie in new threads . Always test the secur ity of your knot before threading i t through the serger.

Stitching Knots Through To stitch the knots through, tr im the cut ends to with in 112 i n . to 1 i n . from the knot. (Be carefu l not to tr im the spool end, or you w i l l have to retie the knot!) Loosen the tension wheels to let the knots pass more eas i l y, and chain the serger without fabric unt i l the u pper and lower l ooper threads pass through the

1 Tie in a new thread (blue) to the old (red) with a

simple overhand knot.

3 Stitch or pull the knot through the eye of the

looper.

eyes and blend i nto the cha i n . Si nce the loopers are thread-hungry, th is w i l l happen before the need le threads arrive at the need le eyes.

Even though the sma l l eye of the need le rare ly al lows the knot to pass through eas i ly, it is sti l l worth knott ing on. Just as the knot reaches the eye, cut the thread, pu l l the old thread out, and manua l l y th read the new one. Resume stitch i ng.

Threading Tips • U se loops of ord i nary sewing th read to help you th read loopers with threads that tend to fuzz, such as wool ly nylon.

• I f you are ru n n i ng short of thread, remember that loopers consume th ree t i mes the amount of th read that needles do. Save sca ntier spools for the needles and fu I ler ones for the loopers.

! j

2 Be sure that the knot is secure before threading it

through the serger.

4 Thread the looper with a loop of regular garment

thread (red) and pull thick, fuzzy thread (blue) through

the eye.

Choosing Thread 29

Experiment with mixing colors and

types of threads for novel effects.

Shown here (left to right) are woolly

nylon (blue) in net spool cas inK

rayon pearl cotton (turquoise) with

protective cap, cotton garment

thread (red) on a 2,DDD-yd. spool,

and (on foam cushion) decorative

metallic thread.

For even feeding with difficult

threads, such as this rayon ribbon

thread, let the spool unwind in a

cup rather than on the spindle.

Decorative Threads

When it comes to decorative threads, sergers have it hands down

over conventional machines. Thick threads that have to be wound

by hand on the bobbins of conventional machines pass easily

through the larger looper eyes. Since the serger spindles can

easily hold entire spools, creative combinations of decorative

thread can be chained into lengths to make custom piping and

braid. Woolly nylon fluffs up to embellish a seam with decorative

flatiocking, and raw edges can be overcast quickly with fancy

finishes in place of hems and facings.

Threads may be silk, linen, wool, metallic, synthetic, or cotton,

and any thickness that will fit through the eye of the looper. For

greater coverage, use decorative threads in the upper and lower

loopers, alone or in combinations.

It is critical to ensure that decorative threads unreel evenly and

flow smoothly through the thread gUides. Some slippery threads

slide off the spool and twist around the spindle beneath; others

snag or fail to feed properly. For these difficult threads, bypass

the spindle and place the spool in a cup behind the machine.

Decorative threads work best if they are smooth, strong, and

supple. Avoid slubbed or irregular textures that might snag in

looper eyes. Threads that break easily are not suitable for

decorative serging. Stiff threads such as quilting thread or rug

and carpet thread are also not suitable, since they won't feed

easily through the stitching mechanisms.

Sometimes it is best to mix threads of different textures and

colors. For instance, monofilament nylon or thin polyester are

good choices for the lower looper to blend with a decorative

novelty thread in the upper looper. Mix related shades of similar

threads in needles and loopers to customize unusual or difficult

colors. Neutral shades of gray or iVOry are good basics that blend

with many other shades to darken or lighten them; sometimes

three colors can be blended for nearly perfect matches. When

blending a seam, be sure to use the shade closest to your fabric in

the needle.


Selecting Needles

Serger needles are somewhat sturdier than conventional

machine needles, but they are sized in the same way: the

higher the number, the smaller the needle.

The type of fabric you are using will determine the size needle you

need. Heavier fabrics require larger needles, and lighter fabrics

require smaller ones. For example, with denims, velvets, and

corduroy I generally use a size 70 needle. With lighter-weight

fabrics such as batiste, charmeuse, or organza, I generally use a

size 90 needle.

Another consideration is the needle tip. For natural fibers, a

pOinted tip is fine, since natural fibers are twisted and spun to

form the thread and are easily penetrated by the pointed tip of the

needle. But synthetic fibers, being of chemical origin, are not

twisted and spun but brewed in vats and e xtruded in long

filaments. The strands deflect the point of a needle instead of

allowing it to pierce them during stitching; this is why it is best,

when serging synthetic fibers. to use ballpoint needles, which

ease the filaments apart.

TIPS FOR CHOOSING SERG ER NEEDLES

• L ight fabrics: Need les m ust be sma l l enough to stitch through the fabric without making holes. Needles that are too large w i l l l eave vis ible holes in the fabric.

• Med i u m fabrics: Need les must be strong enough to pierce the fabric eas i l y, yet sma l l enough not to make holes.

• Heavy fabrics: Need les need to be sturdy or they w i l l bend and break during stitch ing.

• Synthetic fabrics of a l l weights: It's best to use ba l l point needles matched to the weight of the fabric.

Selecting Needles 3 1

Basting Techniques

Highly skilled professional sample-makers in the industry

never baste at all and even take pride in using no pins.

But sometimes we mortals really do need a pin or two,

evenfor serging, which requires much less pinning and

basting than conventional machine sewing.

When it is necessary to keep fabrics from shifting during sewing,

you can pin (use caution), stabilize difficult fabrics with starch, or

glue layers together with solid glue sticks, liquid seam sealants,

artist's tape, or pre-glued basting tape. If you must baste, avoid

basting on the seam line or within the seam allowance, because

removing basting stitches might damage the serging and can be a

time-consuming chore that defeats the virtues of the machine.

Pinning

The serger will not sew over pins! At best, either the pin or the

needle will break. At worst, the knives will be damaged and the

timing of the machine disrupted. When pins are called for, such

as when matching plaids or holding very slippery fabriCS, place

them at least 1 in. inside the raw edge so there is no danger of

one inadvertently passing through the stitch bed. On fabrics that

may retain permanent pin marks, place pins at right angles to the

seam line and be exceptionally vigilant about removing them from

the seam allowance as you stitch; or consider other ways of

securing the two layers, such as taping or glue basting.


Taping

Artist's tape. available at art-supply stores. leaves no sticky

residue and is ideal for positioning sections that need careful

placement. such as straps or pleats. Simply tape the area in

question and remove the tape after stitching. Basting tape is

concealed by layers of fabric. but artist's tape is always on top of

the fabric where you can see it. eliminating the danger of stitching

through it.

Glue Basting

Glues for basting come in liquid. stick. and tape form. Tape is

pressed between the two layers. while stick glues and liquid glues

are both applied sparingly along the seam line. Stick glue is the

easiest type to control. If liquid glue is overapplied. it can cause

skipped stitches or harm your needle. Most basting glues and

tapes are water soluble-which is a benefit only if your fabric is

washable. Tapes carry the attendant risk of being sewn through.

making them much harder to remove. and they will not flex easily

around curved seams. Test glue-basting products on your fabric

to see if they will really save you any time or trouble. Sometimes

pre-seaming at the conventional machine is the quickest and

most accurate choice. saving the serger for non-construction

finishing tasks.

Starching

Starching. though not really a form of basting. can serve the same

purpose by stabilizing tricky fabriCS. making them easier to sew.

For lightweight fabrics and laces starch can actually bond two

layers temporarily. Laces stretch like bias fabric and need to be

stabilized with starch before stitching. Lay a protective covering

over your ironing board (p . 35) and spray lightly. Allow the starch

to settle into the lace before pressing. Stretch lace slightly as you

steam with a medium-hot iron. A press cloth keeps starch from

building up on the sole plate of your iron and prevents scorch

marks on your lace or fabric. Similarly. if you are joining lace to

fabriC. starch very lightweight cottons to help support the lace

during stitching.

Place pins at least 7 in. inside the

edges to be serged.

Solid glues such as glue sticks and

basting tape are easier to control

than liquid glues.

Spray starch and pressing will

stabilize lightweight fabrics

and laces.

Basting Techniques 33

Other Helpful Products

When hemming difficult fabrics,

bias tricot tape helps control

the edges.

Fusible thread in the lower looper

can be pressed to form a hem.

Notions counters are stocked with sewing aids that can

significantly shorten sewing time and improve results.

Those with the broadest number of uses are usually worth

the investment. Grocery stores and art-supply houses are

sources of other helpful supplies. Be sure to test any

product on scraps before using on the actual garment.

Check the labels for information on care, washability,

and permanence.

Bias Tricot

Bias tricot is a tape of o/s-in. or 1 Y4-in. width that comes in white,

black, and several basic colors; it is packaged in rolls and sold as

a seam binding to control fraying. In the serger it helps control

stray threads that tend to escape when rolling difficult fabrics or

bias areas during roll hemming. Serge decorative threads over

the folded edge to create piping and braid; the tricot forms the

seam allowance. It is strong enough to reinforce knit shoulder

seams that might sag or stretch, yet flexible enough to let the

fabric "give."

Fusible Thread

Fusible thread is sold on cones as a basting and positioning

aid. For serging, manufacturers recommend threading the looper

of the side that will be fused. (For example, if the wrong side of

the fabric is to be fused, thread the lower looper and sew right

side up.)

Cover every stitch of the fusible thread with a press cloth before

applying the iron. Light fUSing will be sufficient preparation for

final topstitching; longer fUSing at higher heat and more pressure

may yield a permanent bond.


Water-Soluble Stabilizer

Lay fabrics that move or twist on top of water-soluble stabilizer

and stitch through all layers. When the seam is complete, gently

pull the stabilizer away from the stitching, as if separating

perforated sheets of stamps. Rinse the remaining stabilizer out

of the stitching with warm water.

Water-soluble stabilizers support

delicate stitching and are easily

torn away.

Paper towels placed under seam

allowances prevent imprints from

the iron.

AN EASY I RONI NG-BOARD COVER

A square o f cotton organdy m akes a good press c l oth becau se it w i I I w ithstand h ig h h eat and you can see through i t .

Prevent i ro n i m p r i nts of serged seam a l l owa nces by tuck ing fo l ded str i ps of p a pe r towel beneath a l l owa nces d u ri n g p ress i n g . Press as usua l wi th appropr iate h eat and steam sett i ngs.

By serging ties onto a length of fabric, you can make an i ron ingboard cover that's pretty to look at and easy to change. Cut a width of fabric to fit the out l ine of your i ron ing board, a l lowing a 5- i n . marg in al l arou nd. Serge the edges, i ncorporat ing ut i l ity ri bbon t ies i nto the serg ing at convenient i nterval s around the edges. Tie tightly over you r regu lar i roni ng-board cover and remove for wash ing or replacing as des i red .

Other Helpful Products 35

36

Skills and Seams

Once you understand the way a serger works, it is a short step

to mastering the basic skills that will give you greater dexterity.

Knowing when to stitch with the knives, when not to, and where

they cut, combined with a thorough understanding of where

the needle sews and which threading options to choose, will

enable you to stitch accurately and evenly and be delighted

with your results.

The speed of the serger affects how you gUide fabric into it.

Understanding what to expect and knowing the right ways to

position your hands help you to gain control and manipulate

fabric through the stitching process. It's easy to learn the basics,

because they grow logically out of understanding the way the

serger works. Once learned, they become the foundation for

specific applications such as seams, interior finishes, and hems.

This section introduces basic skills first, preparing you for a

variety of common sewing applications as well as the greater

challenges of curves, corners, and placket slashes. The section on

seams, finishes, and hems then presents a broad overview of

serger uses. Several optional accessories for applying elastic or

blind hemming are suggested, as well as several two-thread

applications. If your serger does not have these capabilities, you

can follow the alternative methods.

Most fabrics and applications fall into a few broad categories, so

that even if a specific application isn't covered, the basic idea

behind all the techniques is explained so you can easily make

your own choices of seams, hems, threads, and finishes.

Building Serger Skills

38 Skills and Seams

Sometimes it seems as if the serger requires a whole new

vocabulary of words and skills. Knives and loopers,

trimming widths, cutting widths, looper tensions, and

dijferential feed are things we don't worry about at

conventional machines. Overlocking, jlatlocking, serging,

chaining-no wonder so many people have never even

taken their serger out of the box!

The secret to it a l l is a few hours of practice with easy mater ia ls and plenty of t ime to put the knowledge of what the serger does and how it does it i nto you r hands. It isn 't even necessary to try everyth i ng. J ust browse through th is book unt i l you find

an appl ication that tempts you, then try it. You ' l l f ind that the serger i s not so i nt im idating after a l l , but rea l l y easy and conven ient

to use.

Understanding Where the Knives Cut

Knowing where the knives cut i n relation to the stitch ing is the fi rst step i n master ing the serger. Once you are certa i n that you won't cut away too much of your fabric by accident, you w i l l ga in confidence. A few moments of practice with a striped fabric w i l l h e l p bu i ld accuracy and contro l . At the beg i n n i ng, focus you r eyes on the knife blade, then gradua l ly sh ift you r attention forward to the toe of the presser foot and the fabric pass ing beneath it.

Most models of sergers now help you gu ide the fabric with ind ications on the toe of the

presser foot that show the posit ions of the need les and stationary kn ife. If your serger lacks these, you can mark your own as you become aware of the

relationsh ips between the toe of the presser foot and the stitch ing mechanisms of the serger.

Practice your stitches and seams on scrap fabric. Stripes will help you

guide the fabric in a straight line.

Cut a 1 2- in . length of stri ped fabric with a rel atively wide str ipe (a l - i n . stri pe is ideal) and ca lm colors that wi l l withstand i ntense focus without t i r ing your eyes. Select a med ium-long stitch length and a thread color that lets you focus eas i ly on the fabric beneath the stitches. Set the cutt i ng width at its widest sett i ng. Thread tensions and feed options ( if any) shou ld be normal .

At fi rst, focus o n the i nner edge of the stationary kn ife b lade (nearest the need les), then stitch unt i l the cut edge i s perfectly stra ight and coinc ides exactly with the edge of the str ipe. Usual ly, when the cutt ing width i s at its widest sett i ng, the r ight edge of the presser-foot toe w i l l coi ncide with the i nner edge of the stationary knife b lade.

Building Serger Skills 39

CUTIING WI DTH

Cutt ing width is the d i stance between the stitch ing and the kn ives.

seams on heavier fabrics and for rol led-hem sett i ngs on l i ghter fabrics.

Narrow cutt ing widths are best for overcast ing tiny seams on del icate fabrics and for flatlocking tri mmed edges. Wide cutt ing widths are used for overcast ing

Moving the position of the b lade housing changes the cutt ing w idth . The widest sett ing is shown i n the photo a t left; the narrowest is shown i n the photo at right.

TRIMMING WI DTH

The tr imming width, or the portion of the seam a l lowance that is cut away and d i scarded, is the d i stance between the raw edge of the fabric and the knives. The tri mming width var ies with the seam a l lowance and the locat ion of the seam. When seaming and overcast ing are simu ltaneous, sergers tr im a preset d i stance from the seaml ine automatical ly. When you are overcast ing the a l lowance of a seam you have stitched conventiona l l y, trim the same amount of excess fabric from the seam al lowance that you wou ld with conventional methods.

Even i f the seam a l lowance is sma l l (or if i t has been previously tr immed and a l tered), you shou ld

40 Skills and Seams

sti l l p lan to trim a t iny portion away from the very edge to ensure a crisp even edge and un iform overcasting.

The trimming width falls a way as

you stitch.

o

With a nother length of the same fab ric, rotate the stationary k n ife control to sel ect the sma l l est cutt i n g width, a n d stitch u n t i l you can confidently sew the edge of the stripe in a stra ight l i ne, learn i n g to focu s on the toe of the p resser foot i n stead of the blade.

F i na l l y, wi th a t h i rd length of fabr ic, beg i n st itc h i ng aga i n a t the n arrowest c u tt i ng width . Ha l fway through the length, stop stitc h i ng, raise the need l e, a n d rotate the stationa ry k n ife o utward to the widest sett ing . I f you lower the foot a n d resume sew i n g w h i l e sti l l gu i d i ng the fabr ic toward the n arrowest cutt i n g-width i n d icator o n the foot, you w i l l see the st itc h i n g veer 2mm to the r ight a n d i nto the ne ighbor ing str i pe.

Mastering Where the Needle Sews

After becoming confident about where the kn ives cut, you can learn where each need le w i l l sew. Aga in practice with the striped fabric, s i nce it w i l l show the accu racy of your sti tc h i ng. Start pract ic ing with both need les in the machi ne, then remove fi rst the r ight, then the left.

The stitch fi ngers are couched i n long grooves j ust to the right of each need le. Look j ust to the left of th is groove to see if the toe of you r presser foot has been marked to i nd icate the need le pos it ion. If you need to make you r own gu idel i ne, mark the toe just to the left of each groove with a f ine i ndel ib le marker.

Now cut another 1 2- in . str ip of stri ped fabr ic. With a l l sett ings at normal, position the fabric so that the edge of a str ipe coinc ides with the left need le posit ion. Stitch, check ing the fabric to be sure the need le stitches are a l igned with the edge of the str ipe. Make smal l adjustments i n feed ing as necessary unt i l you can confidently stitch the length of the fabr ic without wavering.

Retu rn the presser foot to sewing position and aga i n stitch a length of striped fabric, this time a i m ing the edge of the str ipe at the right need le. S i m i l ar ly, stitch unt i l you can fol low the str ipe with the right need le for the length of the fabr ic.

Mark the needle position on the toe of the presser foot.

The edge of the stripe is aligned

with the mark for the right needle

on the toe of the presser foot.

Building Serger Skills 4 1

1 Begin continuous seams by angling in from the right.

2 Complete continuous seams by angling to the left and stitching

over previous stitches.

42 Skills and Seams

Manipulating the Fabric in Special Situations

You w i l l have a l l the basics down once you master techn iques l i ke start ing and stoppi ng, gu id ing the fabric, and learn ing to focus you r eyes far enough ahead of the presser foot to make corrections without d i stort ing the stitch i ng. Now you are ready to tackle the more spec ia l ized situations that fol low: angl ing on and off, avoid i ng the kn ives, clearing the stitch fi ngers, bypassing the kn ives, and making a cutout.

Angling on and off

Circular Areas Continuous seams such as cuffs, fac i ngs, or c i rcu lar hems have no conven ient beg i n n i ng or end. To beg i n and end precisely and to stitch a

smooth cont inuous seam, cha in a few i nches normal ly, then angle the fabric i nto the kn ives from the right (1 ). After the kn ives have begun to tr im the edge, p ivot the fabric into the normal stitch ing posit ion.

When you reach the end of the seam, angle the fabric to the left away from the kn ives, and stitch off the edge of the fabric, sewi ng over the stitches at the beg inn ing of the seam for about 1 i n . (2).

Avoiding the Knives

Someti mes you wish to avoid the kn ives unti l you have begun stitch ing. (Perhaps you need to rest itch an area that has been previously tr immed, or you must seam lessly blend i nto the existi ng stitch ing.) To avo id the kn ives, angle in from the left unt i l the fabric reaches the need les,

then p ivot i nto normal stitch ing posit ion.

After blending i nto the exist ing stitch i ng, angle the fabric aga in to the left, away from the kn ives, and stitch off the edge.

When clear ing stitch fingers (p. 44) and angl ing off and on, remember that the kn ives beg in cutt ing about % i n . before t h e need les enter the fabric.

When you need to restitch,

angling in from the left lets

you avoid the knives.


CLEARI NG TH E STITCH F I NG ERS

When you want to start or stop at an exact poi nt, you need to clear the stitch fingers and swi ng the presser foot out of the way of the stitch bed if your serger perm i ts. Then you can see where to posit ion the fabric to start stitc h i ng u nder the poi nt of the need les, or, at the end of stitchi ng, to get the fabric away from the need les.

To clear stitch fingers without fabric in the machine (at the beginning of a seam):

Chain a length of thread .

Stop sewing and ra ise the needles to the h ighest point.

Ra ise the presser foot and swing i t to the left ( i f poss ible) .

Pul l about liz in. of s lack i n the need le threads.

Pu l l the th read chain beh ind the presser foot u ntil the stitch fingers c lear.

To clear the stitch fingers without fabric in the

machine, chain, then pull slack in the thread.


44 Skills and Seams

Posit ion the fabric u nder the point of the needles as you wou ld on a conventional mach ine.

Swing the presser foot back i nto posit ion ( if necessary), lower it, and resume sewing.

To clear stitch fingers with fabric in the machine (at an exact stopping point) :

Stop sewing.

Pu l l 1/2 in . of s lack in front of the need les.

Ra ise the need l es to the h ighest poi nt.

Raise the presser foot and swi ng i t out of the way (if possible).

Pu l l the fabric back unti l the st itch fi ngers clear and the edge of the fabric is j ust beh i nd the poi nts of the need les.

Swing the presser foot back ( i f necessary), lower it, and resu me sewing to chain a thread tai l .

To clear the stitch fingers with fabric in the machine,

pull the fabric back until the fingers clear. (Presser

foot removed for clarity.)

Bypassing the Knives Angl ing on and off (p. 42) is one way of bypassing the knives; here are two more ways to bypass the kn ives as you beg in sti tch i ng. Both req u i re clearing the stitch fingers.

Folding on

When the edge has a l ready been tri mmed, clear the stitch fi ngers and fold the fabric d i agona l ly away from the need le at the poi nt where you beg in stitch i ng.

Position the need le r ight at the fold .

Beg in stitch ing with the tri mmed edge abutti ng the ins ide of the knife. If you want to neaten the edge after you beg in stitc h ing, just swing the fabric s l ightly to the right in the path of the knife.

Making a Cutout

With scissors, cut out some of the seam a l lowance on your start ing edge. To start i n the middle of a c i rcu lar edge such as a large hem, cut the trim m i ng width from the edge for about 2 i n .

Clear the stitch fi ngers and position the fabric u nder the need les right at the beg i n n i ng of the cutout (1 ) with the tr immed edge abutt ing the i nside of the knife.

At the end of the c i rc le, stop where st itc h i ng begi ns, c lear the stitch fingers, and cha in off so the stitc h i ng is cont inuous (2), with no gap between beg i n n i ng and end and no overlap.

When the edge has been trimmed,

clear the fingers and fold the fabric

diagonally away from the needle.


1 To begin serging a circular edge, position the needle at the beginning of

the cutout. (Presser foot removed for clarity.)

2 End a circular edge by clearing the stitch fingers and chaining off so

stitching is continuous.


To follow an outside curve, press down with your fingers, creating a

pivot point.

To follow an inside curve, push the

fabric toward the knife as you stitch.

46 Skills and Seams

To seam outsidf! corners with two

needles, place the hand-trimmed

portion of the second side flush

against the knives.

Following Outside Curves

Watch the kn ives carefu l ly wh i le sewi ng curved seams, because the fabric w i l l not pivot in the grip of the presser foot. Press the fabric down on the deck of the serger, to the left of the needles, to create a central p ivot poi nt; a l low the raw

edge to travel at the speed of the feed dog.

Following Inside Curves On ins ide cu rves, the chal lenge is to keep the tr immed edge from cu rvi ng away from the kn ife. Push the fabric s l ightly toward the kn ife as you stitch, being sure the tri mmed edge stays flush aga i nst the blade. S l ight puckering to the left of the need le is normal . Don't worry-it w i l l van ish as the seam is stitched.

Turning Outside Corners

Outside corners may be seamed us ing two need les or decoratively stitched cont inuously, us ing one need le.

Two-needle noncontinuous method

With your sci ssors, hand-tr im the tr i m m i ng width from the fi rst 2 i n . of the seam a l lowance o n the second side.

Sew completely off the fi rst s ide, cut the threads, and start the second side as i f it were a new seam, stitch ing over the overlocked edge of the fi rst side and

keep ing the hand-tri mmed edge of the corner flush agai nst the kn ives for the length of the cutout.

Us ing a large-eyed hand-sewi ng need le, run the thread tai l back th rough the stitch ing to conceal it.

One-needle method for continuous decorative stitching

Remove one of the needles accord i ng to the des i red width of the stitch ing.

B U ILD ING SKILLS AT CORN ERS

Learn ing to stitch corners can be tricky. It may take several tries before you can successfu l ly stitch a conti nuous corner without pu l l ing the edge i nto the stitch ing at the begi n n i ng of the second side (by start ing too far away from the need l es) or without creati ng thread loops that extend beyond the fabric (by pu l l ing too much thread s lack when clear ing the stitch fi ngers) .

When stitch ing corners, adjust the cutt ing width for each fabric. Adj ust to as narrow a width as possible that keeps stitches from fa l l ing off the edge. You a l so need to select the r ight needle com bi nat ion.

U se two need les for:

• Grad ual curves

• Outside corners (us ing the non-conti n uous stitch method, which is descri bed on p. 46)

Tri m 2 i n . of seam a l l owance from the second s ide.

Stitch the fi rst s ide, stopp ing exact l y when the need l e comes to the edge of the fabr ic .

L ift the presser foot and c lear the st itch fi n ge rs ( p . 44) .

Posit ion the second s ide d i rectly under the poi n t of the n eed le, a l ign the tr i m med portion of the seam a l l owance f lush agai nst the kn i fe b lade, and resu m e stitch i ng.

U se one need le for :

• Extremely cu rved areas

• Seams at conventional machi ne, then sergeovercast with one need le

• Slashes

. I nside cu rves

U se the left need le on ly for:

• Crisp med i u m- and heavyweight fabrics that w i l l su pport wider decorative stitch i ng a n d heavier thread

Use the right need le only for:

• A l l fabrics, particu lar ly del icates

• Overcast prestitched i nterior corners

• A l l other corners and cu rves

Overcasting Seamed Inside

Corners Sl ash the seam a l lowa nce to the corner and spread the fabr ic f lat i nto a stra ight l i n e . As you spread the s l ash, p leats w i l l form i n the fabr ic .

D i st r ibute th is fu l l ness eve n l y o n e i t h e r s ide of the s l a s h , and secure with tape.

To stitch decorative corners

continuously with one needle,

hand-trim the first 2 in. before

starting the second side.

To overcast seamed inside corners,

slash to the corner, pleat the

fabric, and spread the fabric into

a straight line.

Overcast the seam a l l owance, st itc h i n g in a stra ight l i n e r ight over the s l a s h .


PLACKETS

Plackets are l i ke i nside corners with a hairp in turn . Us ing the s l ash-and-spread technique for i nside corners, plackets can be serged with decorative thread for an attractive fi n ish . S lash the fabric as the pattern d i rects, spread i nto a stra ight l i ne, select m i n imal cutt ing width to support the decorative thread, and overcast in a stra ight l i ne, keeping the edge of the slash f lush aga inst the knife du ring stitch ing.

Prec is ion work l i ke edgi ng a l i ngerie p lacket with l ace is s imple with water-soluble stab i l izer (p. 35) and artist's tape:

Plackets can be finished by using the inside-corner

technique (p. 47).

48 Skills and Seams

Slash and spread the p lacket, and tape it to the stabi I izer with right s ide up.

Lay the lace wrong s ide up i n a stra ight l i ne on top of the spread placket, a l ign i ng the lace with the raw edge at the pl acket point and 1/4 i n . i nside the raw edge at the top of the opening. Secure the lace with tape.

Set the mach ine for rol l hem m i ng (p. 62) and stitch, removing strips of tape as they reach the presser foot. (For i nstructions on how to overlock plackets or i ns ide corners, refer to p. 47. )

Even delicate plackets like this lingerie placket may

be edged with lace using the inside-corner technique.

00 not stitch over the tape that holds the lace in

place; remove each piece as you come to it.

Sewing Taut

If the fabric tends to pucker

dur ing st itc h i ng, invoke the d ifferential feed option (us ing sett i ngs be low normal ) or pu l l the fabric taut under the need le with both hands, being carefu l not to slow the natural feed of the fabr ic . Be sure to keep sewing speed even and regu lar to avo id u neven st itches.

Machine Easing

When fabric has a tendency to stretch, i nvoke the d ifferential feed option (using setti ngs above normal), or dupl icate its effect manua l ly by placing your fi nger or a tool such as a screwdriver blade fl ush aga i nst the hee l of the presser foot. Al low the fabric to p i le up agai nst the restriction as you stitch, releasing and reposition ing every few i nches.

Holding Grain

The long foot and feed dog have a tendency to d i stort stretchy areas of gra i n such as bias, c i rcu lar, or d i agonal seams. To prevent th is, "hold gra in" as you sew. Press the fabric to the deck of the serger with you r right hand and keep you r eye on the weave to be sure threads are cross ing at r ight angles as the fabric enters the presser foot. The seam a l lowance may appear s l ightly r ipp led, but the presser foot w i l l flatten it aga in dur ing st itc h i ng.

� ., S 0'00' • "\) ....

Use both hands to pull the fabric taut under the needle.

Use a tool such as a screwdriver to force fabric to pile up behind the

presser foot to ease fabric or prevent stretching.

Hold grain by pressing the fabric

to the deck of the serger with the

right hand.


1 Cut a thread tail by chaining it around to sewing position and stitching

over it.

2 To prevent fraying, run the thread

tail back through the stitching using

a large-eyed needle.

50 Skills and Seams

3 Form a figure-eight knot to secure

a thread tail.

Ending Se ams

At the end of the seam, cut the thread ta i l us ing sci ssors or the bu i lt- in kn ife beh i nd the presser foot; or cha in it around to the

sewi ng pos ition and stitch it past the kn ives (1 ).

If the end of the seam w i l l not be crossed by another seam or secured i n a hem or fac i ng, you must prevent the stitches from fraying. The best way is to thread a large-eyed need le with the thread tai l and run it back through the stitc h i ng (2).

Threads can a l so be secu red with l iqu id seam sea lant, ava i lable at notions cou nters. Apply a sma l l bead, spread it with the point o f a p in , and a l low it to dry before cutt ing the threads.

Alternatively, the thread can be knotted at the edge of the fabric with a figure-eight knot.

F i rst, loop the th read ta i l back over itself, passing the end u nder the ta i l at the fabric edge and then back up through the fi rst loop.

Now insert the need le through the loop next to the fabric whi le you t ighten the knot to settle it right at the fabric edge (3).

Overstitching at the Start of a Seam

Because overstitch i ng creates a th ick r idge of double stitch i ng, it i s the least sati sfactory method for secur ing thread ta i l s on fine fabrics, but it is acceptable i n certai n areas.

At the beg i n n i ng of the seam, bri ng the th read tai I forward just as the need les enter the fabric.

Pos ition the ta i l so the need les

w i l l sew over it as they overcast.

Swing the tai l in front of the kn ives and let it fal l away after an i nch or so.

Overstitching at the End of a Seam

Fol low th is method if it is necessary to stitch the ta i l at the end of the seam.

Clear the stitch fi ngers just at the moment when the need les stitch off the fabric.

F l i p the fabric and pos ition it as if you were at the start of the seam .

Stitch backward for an i n c h o r two a n d fold off.

C l i p the fi nal tai l c lose to the seam al lowance.

Overstitching the thread tail at the beginning of the stitching works on

sturdy fabrics.

Overstitching the thread tail at the end of the stitching can be done by

clearing the stitch fingers, then flipping the fabric over.

Building Serger Skills 5 1

/

To flatlock a casing, make an S-fold in the fabric and serge

wrong side up with a single needle.

A safety pin at right angles to the seam prevents the free end

of the elastic from pulling through the casing.

52 Skills and Seams

Se wing Elastic

There are several methods for apply ing elastic at the serger; the one you choose depends on you r personal preference and the fu nction of the garment. You can flatlock a casing, overlock l i ngerie elast ic d i rectly to the fabric, or use an elast ic app l icator foot,

ava i l able as an accessory for most sergers. Methods that don't i nvolve stretch ing the elastic onto the fabric during stitch i ng, such as the overlocked casi ng, g ive the

most pred ictable resu lts.

Flatlocking the Casing

Fold the casing a l lowance to the ins ide and refold the fabric with an S-fo ld . The folded fabric w i l l resemble a tuck that overlaps the seaml i ne i nto the seam a l lowance by a scant 1fs i n . The raw edge of the cas ing turnback w i l l extend

about % i n . beyond the fold.

Remove the left or right need le (accord ing to the weight of your

fabric and the width of stitch ing you want) .

Set the serger for th ree-thread flatlock ing by releasing the tension of a l l three th reads.

Stitch wrong side up so the extra seam a l lowance of the turnback i s tr immed away, the need le penetrates a l l th ree layers, and the right s ide of the stitch loops fal l off the edge of the fabric.

When the stitch ing is complete, spread the seam apart and press. The sma l l "flea ladders" on the right side of the fabric w i l l d i sappear into the folds after the elastic is inserted in the cas ing.

Close the fi nal seam after the elastic is in place.

RI PPI NG OUT

It happens to the best of us ! Sometimes you can't avoid ripping out. Because the tension of serger stitch ing is so much looser than that of conventional stitch ing, you have to use a seam ripper to release the need le threads for only a few stitches, then you can pu l l out the rest, as if you were pu l l i ng up gathering threads.

When the need le threads have been pu l led out of the

fabric, s imply give the looper threads a tug to start the uncoi l i ng process. You may have to repeat this process several times on a long seam. Take extra care not to damage del icate fabrics.

Overlocking the Elastic

Cut elast ic to the desi red measurement.

Overlap and stitch the ends.

Mark both the e lastic loop and the garment edge into quarters.

With r ight s ides together, p in the e lastic to the garment edge (1 ), a l lowing the raw edge to extend a generous 1J4 i n . beyond the edge of the elastic .

When ripping out is necessarYt use a seam ripper to

cut the needle threads.

Overlock the elast ic to the fabric, stretch i ng the elastic to fit as you sew (2).

1 Pin elastic to the garment edge, matching the marks.

Leave the kn ife engaged to neaten the raw edge, but be very carefu l not to cut the edge of the elast ic .

Attaching with a n Elastic

Foot Place the elastic foot on the mac h i ne and stitch accord ing to the manufacturer's instructions. The attachment w i l l stretch elasti c evenly as it sti tc hes. Pretest the gatheri ng rat io (p. 54).

2 Overlock the elastic to the fabric, stretching the elastic as it's sewn.


DETERMI N I NG GATH ERING RATIOS

In mach ine gatheri ng, the fabric is fed i nto the feed dog faster than it is drawn away. I t bunches up beneath the need le and forms gathers as you st itch, saving you the step of later pu l l i ng up the bobbin threads.

S i nce this gatheri ng is permanent, i t is important to test you r fabric before stitch ing to determ ine how eas i ly i t w i l l gather and to see if it conforms to the gathering ratio of you r pattern. L ightweight fabrics gather i nto sma l ler pleats, req u i re shorter stitches, have many gathers per i nch, and req u i re h igher gatheri ng ratios. Heavy fabrics gather i nto bul kier pleats, req u i re longer stitches, take fewer gathers per i nch, and have lower gathering ratios.

Fabric gra i n must a lso be considered . Bias gathers are soft and drapey, fabric does not resist gatheri ng, and the gathering rat io can be h igh without bu lk .

Crosswise gra i n forms gathers eas i ly, and the ruffles are crisp. Lengthwise gra i n gathers stiffly, forms less supple pleats, and creates the most bu l k, so gathering ratios should be lower.

Testing Gathering Ratios Cut a 4- in . wide str ip of fabric to a length evenly d iv is i ble by 2 and 3 (such as 1 8 in . or 24 i n . ) .

For 3 t o 1 rat io: divide b y 3 ( a 24- i n . wide strip should gather to 8 i n . ) .

For a 2 t o 1 rat io: d ivide b y 2 ( a 24-i n . wide str ip shou ld gather to 1 2 i n . ) .

For 1 .5 to 1 rat io: divide b y 3 a n d mu lt ip ly the resu lt by 2 (a 24- in . wide str ip shou ld gather to 1 6 i n . ) .

Gathering

L i g htweight fabr ics may be gathered without a spec i a l attac h ment.

I nc rease the stitch l ength to 3-4 (max i m u m l en gth sett i n gs) .

I n c rease the d ifferent ia l feed to the h ig hest po int above norm a l s o t h a t t h e fabr ic wi l l b e fed i nto the stitch bed twice as fast as it leaves.

Cather lightweight fabric with the differential feed set to the highest setting. Tighten the n eed le t h read to secu re the gathers. The rol l-hem sett i n g can be i nvoked to rol l the top edge i nto a neat f i n i s h .

A gathering-foot attachment lets you gather and overcast at the same time.

54 Skills and Seams

When gather ing heavier fabrics, use a spec i a l gather ing foot attachment ava i l ab l e for most sergers. Fol low the m a n ufacturer's i nstruct ions for basic sett i ngs, and then test your fabr ic for gatheri n g ratios, as descri bed i n the s i deba r above.

Se ams, Finishes, and Hems

The serger is surprisingLy effective at seaming and

hemming, as weLL asfinishing. A variety of interior

construction seams can be done compLeteLy at the serger;

others are done in combination with the conventionaL

machine. It is often preferabLe to make fine seams (such

as French seams) at the serger, because the knives neaten

the edges so effectiveLy that no little threads pop out at

the seamLine as they can when aLLowances are hand

trimmed the traditionaL way. Tiny hemmed seams can

also be swiftLy and accurateLy sewn in sheer fabrics,

mimicking techniques used by skiLLed industry

professionals, who use Y16-in. roLL-hemmer attachments

on industriaL machines.

Curved seams, such as armholes, that are conventiona l ly sewn with straight stitch ing may be serge-fi n i shed i n one layer after seaming.

Other seams may be pressed open and fi n ished separately as appropriate, or "framed" with serg ing before sewi ng. F ram i ng is part icu lar ly effective in stab i l iz ing sheer fabrics to backings when two layers are to be sewn as one, e l i m i nating the need to staystitch and overcast separately.

Sergers can save hours of preparation t ime in large c i rcu lar hems. I n wovens, you can either ease the extra fu I I ness to fit or

overcast decoratively edged hems; i n loosely woven or kn itted fabrics, you can make qu ick and easy b l i nd hems.

The techn iques that fol l ow are organ ized to help you select the best seams, seam fin i shes, and hems for any project you u ndertake. (Serger sett ing charts for the techn iques appear on pgs. 96-1 09 .) Review these techn iques frequently and perfect the ones that appeal to you, working on addit ional techn iques as you choose. If you are sti l l gett ing used to your serger, refer to earl ier sections for hel p i n thread i ng, mak ing routine adjustments, and prepar ing for stitc h i ng.

Seams, Finishes, and Hems 55

Basic four-thread serged seam; see setting chart, p. 96.

Basic three-thread serged seam;

see setting chart, p. 97.

56 Skills and Seams

To avoid mix ing used need les with new ones i n the box, secure need les that have been temporar i ly removed to the i nside of the front panel door with artist's tape u nti l you need them aga i n . When replac i ng need les, note that the long groove (wh ich he lps channe l the thread through the eye) d ist i ngu ishes the front, and the back is i ndented to accommodate the upper looper need le .

Se ams

The basic three- or fou r-thread serged seam, the two-thread ha i rl i ne, the b ias ha i rl i ne, and the two- and three-thread rol led seam are a l l one-step seams. The serger F rench seam is a two-step seam, prepared at the serger and completed at the conventional mach i ne.

Basic Four-Thread Serged

Seam The bas ic serged seam i s sewn at the serger exactly as it wou ld be at the conventional

mach i ne. With r ight s ides together and raw edges a l igned, stitch the seam from begi nn i ng to end, cha i n i ng a 3 - in . to 5- in . tai l at the beg i n n i ng and end of each seam.

Basic Three-Thread Serged

Seam Three-thread seams may be sewn on l ighter fabrics in areas that do not bear much strai n . Avoid three-thread construction for heav i ly stressed seams such as armholes or the i nseams of h igh ly fitted pants. Decrease stitch length and cutt ing width for l ighter fabric.

Hairline Seam H ai rl i ne seams can be stitched with three threads, but are best sewn with two on very l ight fabrics ( if your serger has the capabi l ity). For very fine seams, thread the need le with a th in thread, such as cotton

bast ing thread or two-ply polyester. Wool ly nylon is good for the loopers because it w i l l withstand h igh tensions without breaking. I nvoke the rol l-hem

setti ngs to produce very narrow stitch widths, and use the narrowest poss ib le cutt ing width so the fabric wi II not rol l . Decrease the stitch length and i ncrease the tensions gradua l ly if the stitches are v is ib le from the right s ide.

Bias Hairline Seam B i as ha i rl i ne seams are exactly l i ke any th ree-thread ha i r l i ne seam on gra in , but the b ias is so l i kely to stretch that the d ifferentia l feed shou ld be put to the h ighest sett i ng.

If b ias stretches even when d ifferential feed i s at its h ighest sett i ng, stitch the seam on top of a strip of water-sol uble stab i l izer. Tear stab i l izer away from both sides of the seam after st itch ing . Any stab i l izer remai n i ng in the seam w i l l d i ssolve at the fi rst

washi ng, but take care to use a press c loth to prevent traces of the stab i l izer from fou l i ng the bottom of you r i ron. For more t ips on water-so lub le stabi l izers, see p. 3 5 .

Two- and Three-Thread

Rolled Seams For a rol led seam, choose a wide cutt ing width so the seam a l lowance w i l l rol l i nto the seam. Rol led seams may be sewn on lengthwise or crosswise gra i n . B ias and d i agona l gra i ns are d ifficu lt to rol l neatly, as the b ias threads escape from the seam, g iv ing it an unsightly appearance. For b ias edges, choose s imple ha i rl i ne seams instead of ro l l ed seams. Crisp fabrics can tolerate a stiff thread, such as c lear fi l ament nylon,

but use flex ib le threads such as Orion or woo l ly nylon with softer fabrics.

Hairline seam.

Two-thread rolled seam; see setting

chart, p. 98.


Serger French seams create narrow

finished edges; see setting chart,

p. 99. The preliminary seam is

serged, then enclosed by a

conventional sewing machine.

Flatlocked decorative seams are

serged, then pulled crosswise until

the stitches lie flat; see setting chart,

p. 1 05.

58 Skills and Seams

Serger French Seam French seams, which completely enc lose the raw edge in a pre l i m i nary

seam, are qu ick and easy on the serger. Before you beg in , make a sample: Choose the narrowest sett i ngs you can, and stitch a pre l i m inary ha i r l ine seam . Measure t h e width o f you r ha i rl i ne seam and add a scant bit of ease for turn ing to establ i sh the pre l i m i nary seaml i ne i nside the garment seaml i ne.

With wrong sides together, stitch the pre l i m i nary seam on the garment, as you d id the practice ha i rl i ne seam. Because the pre l i m i nary seam is never subject to stress, you can e l i m i nate bu lk with a stitch length s l ightly longer than norma l . If you r serger has two-thread capab i l it ies, bypass the upper looper and th read only the lower looper with wool ly nylon or another soft thread with a strong stretch that w i l l not create bu lk .

Press the hair l i ne seam to one side.

Us ing the pre l i m i nary stitch ing as a fold l i ne, a l ign the right s ides

together and complete the seam with the conventional mach ine .

Flatlocked Decorative Seam

F latlocked seams are overcast with three threads, us ing either the left or the right need le, depend i ng on the desi red width of the seam. The weight of you r

fabric and thread w i l l determ i ne which need le to use. S ince flatlocked seams are strong design elements, be sure to test the effect on smal l scraps to ensure that the seam w i l l be un iform, even, and worthy of such attention.

Loosen the need le tension generously so the need le stitches extend to the edge of the fabric on the wrong side.

Tighten the lower-looper tension u nt i l the threads are pul led i nto a stra ight l i ne at the edge of the fabric. The upper- looper tension shou ld be loosened sl ightly to a l low the fabric to be pu l led flat after stitch ing .

Select a narrow cutt ing width .

With wrong sides together and raw edges a l i gned, stitch the seam right side up so that the stitches are half on and half off the edge

of the fabric.

Pu l l crosswise on the seam u nt i l the stitches I ie flat. The decorative upper-looper stitches of the seam w i l l appear on the right side, and the loose need le stitches wi l l resemble a t iny "flea ladder" on the i nside. If you prefer the flea-ladder look, stitch the fabric with r ight s ides together so that the flea ladder w i l l be on the right side. Test a sample of narrow flatlocking by tugging gently to be sure it does not pu l l away from the fabric.

Se am Finishes Most of your serg ing w i l l be for fi n i sh ing seams that you have

sewn at a conventional mach ine. You can serge each side of the seam al lowance separate ly, or you can fi n ish both layers of the seam al lowance at the same t ime for sma l l i nterior seams (such as armhole seams), where ridges w i l l not show through to the outside.

When seams are to be pressed open, each side of the seam a l lowance should be serged separate ly before pressi ng.

E ither way, you never aga i n have to have an ugly notched seam a l lowance on the i nside of you r garment. When the pattern ca l l s for trimming and notc h i ng smal l enc losed seam a l lowances, s imply serge c lose to the seam l ine. In fact, c l i pp ing serged seam a l lowances is not recommended, because it causes the stitches to u n rave l .

Garment sections c a n a lso be staystitched or "framed" with serg ing before seaming. Most fi ne fabrics shou ld be overcast with three th reads, with the left need le omitted for a narrower stitch . Need les, loopers, and cutti ng widths should be ba lanced i n a l l fi n ish ing app l i cations.

Finishing Edges Together

Conventiona l ly stitch the seam with the normal seam a l lowance. Then tri m and serge both layers of the seam al lowance s imu l taneously, stitch ing c lose to the or ig inal seam l ine. The trimming a l lowance w i l l be generous, and the remain ing overlocked seam a l lowance w i l l be neat and flex ib le.

Narrow overlocking can be used to finish areas like armholes.


Single-layer overcasting; see setting chart, p. 1 03.

Framing with overcasting.

60 Skills and Seams

Single-Layer Overcasting

When stitched conventional

seams are to be pressed open, overcast each side separately, tri mming away just enough from the seam a l lowance to neaten the edge.

Framing with Overcasting

S i ngle layers can be staystitched with overlock ing before being seamed. Leave neck l ines, fac i ngs, and other enclosed seams unstitched, as the overlocking w i l l create too much b u l k . Cha i n on and off the beg i n n i ng and end of the seam a l lowance and c l i p the chains close to the fabric. Don't worry about th reads unrave l i ng,

as each seam w i l l be crossed by another. When staystitch ing two layers together, p in the layers at crit ical seam al lowances before serg ing, removing p i ns as you approach them .

Hems

Serger hems are just as fast, effic ient, and conven ient as every

other fi n ish on the serger. Hems may be b l ind-hemmed with or without an optional b l i ndhem m i ng foot. They may a lso be c lean-fi n i shed with s ingle- layer overlock ing for hemming by hand or with the conventional mach ine.

Twin-need le hems, eased c i rcu lar hems, and narrow sh i rtta i l hems (un iversa l l y cal led "baby hems" i n the i ndustry) fal l i nto th is category.

Rol led hems rely on a narrow stitch and h igh looper tension to rol l the cutt ing a l lowance i nto a t iny hem. The approach is the same as it is for a ro l led seam, but a rol led hem, u n less it is a receiving hem, has on ly one l ayer. Rol led receiving hems are used to secu re l ace edgi ngs or entredeux to fi ne fabrics for l i ngerie or to incorporate stiffen i ng monofi lament fi sh ing l i ne i nto very sheer fabrics to prevent drooping.

Stretched hems and flatlocked hems are decorative treatments that emphasize the wavy tendenc ies of b ias areas and kn its. Novelty threads such as meta l l ics and r ibbons look wonderfu l i n stretched o r flatloc ked hems.

Two-Step Turned Hem Hems can be overlocked in preparation for fi nal sti tc h i ng at the regu lar mach i ne or by hand.

For narrow topstitched or shirttail hems

Overlock the garment's lower edge.

Us ing the need le sti tch ing of overlock as a fold l i ne, turn up a baby hem and topstitch at the conventional mach ine with a s ing le or twi n need le.

For deeper circular hems

For deep c i rcu lar hems, used eased overlocking. Overlock the edge with three need l es, (genera l l y om itt ing the l eft need le, as narrow stitch ing looks best) and ease the fabric by sett ing the d ifferentia l feed sl ightly h igher than norma l . This wi l l shr ink the hem to fit the sk i rt after you turn it up .

Steam the hem i nto shape.

To fin i sh, the hem can be sewn inv is ib ly by hand or topstitched with twi n need les.

See p. 34 for us ing fus ib le threads to baste hems in p lace.

Overlocking controls the ease

of a circular hem; see setting chart,

p. 99. Here, a machine-eased hem

is pressed flat before final stitching.


• •

Basic rolled hem; see setting chart, p. 7 00.

Rolled receiving hem; see setting chart, p. 7 00.

62 Skills and Seams

Basic Rolled Hem F ine and l ightweight fabrics can be rol led into hems that resemble those done by hand on French l i ngerie and chri sten ing dresses. The serger makes qu ick, accu rate work of it .

Move the cutt ing width to the widest sett ing to leave enough fabric to rol l . The stitch length shou ld be moderate, but i t is wise to test it for each fabric. Some fabrics rol l eas i ly and others have threads that want to escape from the hem . Surpr is ingly, i ncreas i ng the stitch length can be most

effective in control l i ng d ifficu l t fabrics, s i nce longer stitches

w i l l permit the fabric to retai n i ntegrity, whereas shorter stitches tend to separate t iny cross threads.

U se I ightweight, soft, stretchy thread, such as woo l ly nylon,

under very h igh tension i n the upper and lower loopers, with regu lar sewing thread under normal tension in the need le. Soft, th in, two-ply polyester a lso works wel l .

For a Quick Square Project that incorporates rol led hem m i ng, see p. 89.

Rolled Receiving Hem

Receiving hems are ro l l ed over the head i ng of lace str ips for hei rloom app l ications. Starch and press the lace and the fabric to stab i l ize both. If possib le, bypass the upper looper and set the mach ine for two-thread appl ications, reta in ing normal rol l ed-hem sett ings.

Blind Hem

Prepare the hem : fo ld up the normal hem a l lowance, as your pattern d i rects, and press. Then fold the fabric back on itself, c reat ing an S-fold (sim i lar to elast ic casi ng), and al lowing the

raw edge to extend beyond the fi rst fold of the S.

Pin through all three layers at once, p lacing pins wel l i nside the folded edge.

B l i nd hemming requ i res a prec ise start and stop. Clear the stitch fi ngers (p. 44) and prepare a cutout to beg in stitch ing (p. 45) .

Thread the serger with colors that blend eas i ly i nto the fabric, loosen the need le tension, t ighten the lower- looper tension, and moderately loosen the upperlooper tension, as you would for flatlocking (p. 58) .

With the need le bare ly catc h i ng the fo ld, stitch with the right edge of the foot on the extended portion of the hem a l lowance.

Continue arou nd the c i rc le to the start ing poi nt, clear the fingers aga in , and chain off.

U nfold the hem and pu l l it flat, then press. The "flea ladder" may show in l ighter fabrics, but w i l l s ink i nv is ib ly into heavier weaves and kn its.

Decorative Thread Edgings

With the serger, you can make decorative edges that take the place of fo lded hems or fac i ngs. When us ing these fi n i shes, remember to trim off your pattern's hem a l lowance. Choose a fi rm enough fabric to support the edge without buck l ing, use a novelty thread i n the loopers, and set the stitch length to provide good coverage.

\

Blind hems are sewn wrong side up after pinning an S-fold at the hemline;

see setting chart, p. 1 02.

Decorative thread edging can

mimic piping.

Lettuce-Edge Hem Kn its and bias edges can be stretched wh i le overlock ing to create a glorious ruffled edge that resembles cur ly

escarole. True bias and the cross gra ins of kn its stretch best; avoid fabrics that are too I ight to su pport dense stitch i ng. Thread the upper looper with decorative or contrast ing thread that g ives good coverage, such as wool ly nylon.

Stretch the fabric as you stitch to enhance curl i ng.

Lettuce-edge hem; see setting chart,

p. 1 0 1 .

For a Quick Square Project that incorporates a lettuce hem, see p. 67 .


64

Using Your Knowledge

Even though 90% of the time you might use your serger to finish

seams, it doesn't mean that all the fun and creativity of serging

are limited to the remaining 1 0% of specialized uses. The essence

of good design is appropriate use of fabric combined with well

executed construction. If you are like me, you will enjoy the

challenge of selecting the best possible settings to add to the

professional quality of your work.

Since fabric is the key to technique, and there are so many

possible settings and thread choices, I keep a swatch notebook

of seam and hem finishes organized by fabric types. This way,

if I haven't sewn with a particular type of fabric for a while, I

don't have to reinvent the wheel and spend precious time

experimenting all over again to find the proper threads, cutting

widths, and needle tensions. I simply refer to the notebook

to refresh my memory. Similarly, I organize more specialized

uses of the serger in the same way. I staple actual swatches of

stitched trims, decorative thread combinations, and successful

experiments to index cards and make notes on the number of

threads, tension settings, cutting widths, differential feed, and

other optional settings or specialized attachments. This handy

reference file reminds me of good ideas I had forgotten about and

helps my new employees quickly visualize more creative uses of

the serger than they may have encountered in factory settings.

In this chapter I share the convenience and cumulative

experience of my notebook with you. The best seams, hems,

and thread types for routine finishes (and the serger settings for

creating them) are found in the Photo Index, which begins on

p. 96. The more specialized and creative uses are grouped in the

context of typical projects for clarity.

Working with Knits

66 Using Your Knowledge

Knits are the most fun of all to sew on the serger. Serger

seams are quick and easy, and most knit styling is

simple, so projects are not difficult to finish. The flexibility

of serger stitches allows them to move with the knit

without breaking, so every knit fabric can be stretched

hOrizontally to become self ribbing for neckbands

and cuJfs.

F ine kn its i nc lude a l l weights, from l ightweight s i l k jerseys through medi um-weight wools and cottons, to heavy panne velvets and velou rs. Any fiber can be kn i tted. As in wovens, the weight of the fabric depends on the thickness (den ier) of the yarn, the number of strands (p l ies) twisted together, and the style of knit .

Dou ble knits are knitted with two sets of need les and have no right or wrong s ide; s ing le kn i ts show the front and back of s ingle stitches and have a "kn i t" and a "pur l" s ide. I nterlocks w i l l not run, and the cr imped yarns of matte jerseys absorb I ight and yield a du l l , matte fin i sh .

QU ICK SQUARE PROJ ECT: LETIUCE-EDGE COWL-N ECK SCARF

Choose a kn i t without an obvious right and wrong side.

Measure and cut a square of good-qua l i ty knit that measures about 22 i n . (drape a tape measure around your neck to determine the exact size you prefer) . If your knit has more body or weight, you might want to make a shallower crosswise rectangle.

Make a lettuce hem on each cross-gra in edge (p. 63) .

Serge-seam the two lengthwise edges us ing the fourthread serged seam for knits (p. 56) .

Fold the tube i n half, wrong sides i n .

An Elegant Knit Top

Any dressy kn i t, such as s i l k or rayon jersey or velour, turns a ut i l ity tee sh i rt in to an elegant kn i t top. A serged horizontal band of self fabric makes an e legant fi n ish for the neckl i ne and cuffs of a f i ne knit top. Choose narrow bands for crew necks and short sleeves, wider ones for turt lenecks or turnback cuffs for long sleeves.

Cut out the top accord ing to the pattern d i rections. (To ensure proper fit, be sure to choose a pattern in tended for kn its.) 1 Reinforce the shoulder seams with bias seam tape.

Th read both need l es of the serger with garment thread and both loopers with a sturdy stretch thread such as woo l ly nylon. Start with the basic four-seam sett i ngs as ind icated in the chart on p. 96, mak ing adjustments as necessary to suit your fabric.

Sew the shoulder seams (reinforcing them with bias tape (1 ) or b ias tr icot as necessary}.

Working with Knits 67

2 Measure and mark the cut width of the turtleneck on the horizontal grain

of the fabric.

3 Mark the folded turtleneck band and the neckline in quarters.


To determ ine the cut width of

you r self r ibbing: For crew bands, determ i ne the des i red fi n ished width of the band, double it, and add a seam a l lowance to both s ides. For tu rt leneck bands and rol l back cuffs, quadruple the desi red fi n ished width of the band (2) before add i ng a seam a l lowance to both sides.

Mark the cut width on the horizontal gra i n of the fabric, and cut a generously long strip. To determ ine the c i rcumference of the strip, double the strip

lengthwise and stretch it comfortably over your head or

wrist. P in .

Remove the band and mark the location of the p i n to i nd icate the seaml i ne. Add seam a l lowances.

Serge the center-back seam of the self r ibbing. Fold i t in half

lengthwise, r ight s ides out.

Mark the r ibbing tube in quarters (the seam w i l l be at center back) . Mark the center front and back of the top neckl i ne (3).

Distribute the band even ly about the neck, p inn ing seams and markings together at center front, back and shoulders. Stretch the seam band to the neck l ine us ing the cutout method (p. 45) to start and stop at the same poi nt of the neck l ine seam. Press the seam a l lowance toward the garment.

Smal l r ibbing areas l i ke cuffs are easier to apply as flat pieces. P in the s leeve self r ibb ing to the right side of the sleeve edge, raw edges a l i gned, d i str ibut ing the sleeve fu l l ness even ly. Stretch-seam the band to the garment (4); press the seam toward the s leeve.

Sew the sleeves to the armhole on the flat (before clos ing the side and u nderarm seams), a l ign ing the appropriate pattern symbols .

Serge-seam the s ide, u nderarm, and cuff in one conti nuous seam (5). U se a tapestry need le to run in the th read ta i l at the wrist edge.

Hem the bottom us ing the b l i ndhem method (p. 63) or twi nneed l e topstitch ing at the conventional mach ine.

4 Stretch-seam the cuff (or neckband) to the garment.

5 Serge-seam the side, underarm, and cuff in one continuous seam.

Working with Knits 69

Tailored Finishes


Tailored detailing emphasizes the lines and seams of

simple designs and adds s wjace interest to soft-finish

wovens such as gabardines, twills, linens, tweeds,

jlannels, and broadcloths. The better the fabric and the

simpler the design, the more the detailing will show. Use

the conventional machine and the serger together for basic

interior construction, then let the serger help you prepare

your pocket edges or create tailored details such as tucks,

decorative jlatlocking, thread outlines, and custom braid

for monograms.

Thread Accents

Textured novelty threads can out l i ne seams or the geometric shapes of col la rs, cuffs, and pocket flaps. Treat decorative and novelty threads as part of the overa l l des ign, choos ing them to blend, h igh l ight, or accent colors in the weave or design . Match the weight of the thread to the weight of the fabric.

Tucking

Serger tucks are a good way to add deta i l s to ta i lored styles. They

en hance the texture of the weave and, by drawing the eye to the d i rection of the tuck, underscore the vert ical or horizontal aspects of the design s i l houette.

S ince the tuck is overcast, the looper thread w i l l a lways show, and the thread selection becomes a design deta i l . Garment thread is

customar i ly used in the need le.

TI PS FOR TUCKS

• Plan your tuck ing design and placement before

cutting out the garment.

• Stitch tucks on lengthwise or crosswise gra in .

• Sergers stitch right side up! Stitch a l l tucks i n the same direction for a un iform appearance.

• Trim thread ta i ls immediately before stitch ing the next tuck.

• Do not plan tucks too close together. The feed dog

wi l l not feed smoothly if the previous tuck is below the presser foot.

• Start stitch ing a vertical series of tucks with the center tuck; start a horizontal series of tucks with the top tuck.

• Press vertical tucks away from the center.

• Press horizontal tucks down.

• For wider tucks, remove the right need le.

• Si nce tucks are not construction seams, they do not need the extra security of three threads.

L ightweight two-ply threads b lend wel l , part icu lar ly if the tuck is very narrow, and w i l l emphas ize the texture of the tuck. Novelty threads under h igh tension i n the upper looper further d istract the eye from the overcasti ng thread and add a color accent to your garment. For contrast accents, overcast with woo l l y nylon or decorative th read and stitch wider tucks to h ighl ight the thread .

Most tucks are stitched i n groups. Widths and thread detai l i ng may

be un iform or varied. See the sett ing charts on p. 1 04 for bas ic and decorative tucks.

To create a tucked fabric, decide on the width and nu mber of tucks. Cut a square of garment fabric with enough ease to extend

3 i n . beyond a l l edges of the pattern when tuck i ng is complete.

To mark fo ld l i nes, press the fabric, starch ing i t if appropriate. Pos it ion the edge of the ru ler on the gra i n and l ightly scratch a fold l i ne for the fi rst tuck with the point of a pin ( 1 ), steadying the pin aga inst the edge of the ru ler. The p in wi l l fa l l between the th reads of the gra i n and score the cross ing th reads. Avoid us ing too m uch pressure as there is a danger of cutt ing finer fabrics.

1 Scratch the fold lines with a pin

and ruler.

Tailored Finishes 7 1

2 A pin works as a third hand, letting you pull the fabric taut as you press.

3 Stitch the first tuck, then crease and press subsequent tuck lines.

4 Position the pattern over the fabric that has been tucked.


A p in p laced through the fabric at a 45° angle secu res the beg i n n i ng

of the tuck to the i ron ing board, enab l i ng you to pu l l the fabric taut and press crisp folds (2).

Add contrast ing or harmon iz ing textured th read such as pear l cotton to the upper looper. (See p. 30 for t ips on worki ng

with decorative th reads.) I ncrease the upper- looper tension by

degrees unt i l sma l l beads of the th read form at the stitch ing l i ne . Mainta i n normal tension and garment thread i n the need l e to hold the beads of thread, then loosen the lower- looper tension

so the fabric can be encased in thread without buckl i ng. A denser stitch length, such as 2 mm, creates un iform thread beads on the st itch ing l i ne .

Stitch the fi rst tuck, then crease and press subsequent tuck

l i nes (3). Continue in th is manner u nt i l a l l the tucks are stitched .

When a l l the tucks are

made, p lace the pattern over the fabric (4) and proceed to cut out the garment.

Decorative Edging

Col lars, cuffs, and pockets may be fin i shed with the same combination of threads to complete the sty l i ng deta i l s . S i nce two-ply blend ing thread wi l l not cover exterior edges, coord inated garment sections should be st itched, turned and pressed as you r pattern d i rects. Seams should be tr immed to a scant 1/8 i n . before turn ing a n d press ing so the seam a l lowance wi l l fit ent ire ly with i n the serg ing l i ne . Serged

edging holds fac ings in p lace without underst i tch ing.

Set the serger to match decorative tucks (see the chart on p. 1 04), or fi ne-tune you r sett i ngs on a test scrap. Assemble the co l lar or cuff and stitch the tr im before attach ing the section to the garment. You must be extra v ig i lant not to pu I I and stretch cu rved areas as you a l ign them i n front o f the toe o f the presser foot.

Decorative Flatlocking

Any seam that m ight be embel l ished with p ip ing can be flatlocked with decorative thread. Plan the texture and color of the thread as you wou ld any design e lement: to harmon ize, h igh l ight, or accent a part icu lar deta i l of texture, l i ne, or color.

Collars and cuffs can be finished with decorative thread.

• F lat r ibbon threads give good coverage and a soft ly gleam ing fi n ish . They can a lso be cha ined by themsel ves into attractive bra id for monograms or other decorative outl i nes.

• Textu red threads such as pear l cotton or woo l ly nylon y ie ld matte fin i shes and l ess successfu l cha i ned tr ims.

• If you l i ke the way the need le and lower-looper threads appear to frame the decorative upperlooper thread, emphasize th is wi th creative contrasts rather than b lending th reads. It is a l so wise to be sure the tr im is washable if you plan to g ive the garment hard wear.

TI PS FOR

FLATLOCKING

• Bypass the spindle i f the thread has a tendency to wrap.

• Control the stitch width by

using either the left or right need le, and turn rol l-hem settings on or off. Be sure the stitch is wide enough not to pu l l out of the fabric.

Tailored Finishes 73

Flatlocked decorative thread can

replace piping in a seam.

Chaining without fabric creates a decorative braid.


To serge a flatlocked seam :

Prepare each section to be joi ned as your pattern d i rects. (The pocket band in the photo at left has been i nterfaced and pressed prior to flatlock i ng it to the pocket.)

F ine-tu ne your flatlock sett ing on scraps (see the top chart on p. 1 05), match ing the width of the seam to the weight of the fabric and des i red coverage of the seam.

Pin a l l the elements of the seam together and serge.

Decorative Chaining without Fabric

A few adjustments i n stitch length and tension are necessary to cha in decorative braids (see the bottom chart on p. 1 05) . Retai n the basic flatlock thread ings and sett ings (see the top chart on p. 1 05), but return the need le tension to normal . Loosen the upper looper to make large loops (bypass the tension a ltogether if the lowest tension sett i ngs do not produce even results), and t ighten the lower looper to ma inta i n the shape of the bra id . I ncrease the stitch length as necessary to keep the stitches from jamm i ng on the stitch fi nger without the feed dog and fabric to carry them away.

MAKI NG MONOGRAMS WITH DECORATIVE CHAI N I NG

Serging over a strand of fus ible thread lets you bond your tr im d i rectly to the garment in any design you want. Hold ing the thread in a cup next to the serger (sometimes it's more convenient to hold the cup i n your l ap), guide it u nder the presser foot from front to back, pos it ion i ng it d i rectly over the stitch fi nger. (Temporar i ly tapi ng the end beh i nd the presser foot w i l l secure it unt i l it is i ncorporated i nto the cha i n . ) Avoid thread ing the needles o r loopers with fu s ib le thread, as i t can melt d isastrous ly dur i ng pressing.

Chaining over fusible thread makes a press-on braid

that can be used for monogramming.

L ight ly out l i ne your monogram or design on the right side of the fabric with a d isappearing marker.

Dot the outl i ne spa r ingly with a fabric glue stick and arrange the braid over the marked pattern, pressing the glued areas with your fi ngers. If you are bond ing fus ib le thread, protect the i ron w ith a transparent press cloth (organdy works wel l ) so you can see what you're doing without gett ing glue on the sole pl ate.

If you prefer non-bonded app l ications, hand-tack the braid in place.

Fuse the chain in place, using a scrap of organdy to

protect the iron from glue.


QU ICK SQUARE PROJ ECT:

L INED EYEG LASS CASE WITH TUCKS AN D MONOG RAM

Try out a variety of decorative tai lored deta i ls with some l i ned eyeglass cases.

Cut a rectangle of fabric l O i n . by 20 i n .

Mark and stitch the decorative tucks o f you r choice to embel l ish the case.

Cut a l i n ing to fit the tucked rectangle, and fuse the l i n i ng to the wrong side of the fabric.

Fold the tucked fabric i n half crosswise, and prepare and position a thread-cha i n monogram between the tucks, if des i red .


Using you r eyeglasses as a gu ide, trace a pattern on a piece of paper, us ing a ruler to ensu re that the sides are straight, and curv ing the top s l ightly.

P lace the bottom of the pattern aga i nst the crosswise fold of the fabric, and cut out the case.

U nfold the case and serge the curve of each top edge. Refold the case and, start ing at the bottom fold, serge through al l layers to close each s ide. For a q u ick shou lder strap, continue to serge without fabric for the length of the strap before c losing the second side, this t ime sewing from top to bottom .

Time-Saving Construction Aids

Some tai lor ing deta i l s don't show on the outside of the garment, but are j ust as crit ical to the fina l appearance as the ones that do. Let you r serger g ive you expert beh i nd-the-scenes help for profess ional resu lts every t ime.

Mock Hong Kong Finish

The Hong Kong fi n ish i s named for the is land's sk i l led tai lors, who

fi n ish the seams of u n l i ned s i l k a n d l i nen jackets with bias b ind i ng. You can make a neat, easy mock Hong Kong fi n ish with your serger. Threads that cover wel l , such as wool ly nylon, are best in both loopers (see the bottom chart on p. 1 03) ; select the colors to harmon ize, contrast, or accent.

Staystitched Pocket Seam

Allowances The serger e l im i nates a l l agony from topstitch ing pockets. Use any thread you l i ke (garment threads are fine), and use balanced tensions for normal th ree-thread overlock ing. Serge the bottom edge fi rst. Press it i n pos ition over the pocket. Serge right over the fold when overlock ing the two s ides. Press, position the pocket, then edgestitch it to the garment with the conventional machine.

A mock Hong Kong finish adds a colorful accent to the seams on

this jacket.

Inside Waistband Finish

Use the serger to make a neat, bu lk-free waistband fi n ish .

In terface the waistband and the seam outside edge to the sk i rt or pants.

F i n ish the i nside waistband edge with balanced three-thread overlock, a l ign ing so the serger tr ims most of the seam a l lowance and so the top of the overlock ing wi l l coi ncide with seaml i ne.

Close the ends and turn the corners right side out.

Fold the waistband to the i nside of the sk i rt, and posit ion it so the seam a l lowance extends sl ightly beyond the waist seam and the tops of stitches are a l igned with the stitc h i ng l ine.

Pin and d i tchstitch from the right side through al l layers.

Use the overlock stitch to finish

the interior waistband and seam

allowances of a skirt or pants.


Festive Det ailing

78

Special-occasion fabrics range from lightweight organzas

to sumptuous velvets. Sheers like organdy and organza

can be handled like any delicate fabric. Browse through

Chapter 3 and the Photo Index to find seam ideas. Tucks

from the tailored details in this chapter also look great on

crisp sheers, but avoid them in heavier pile fabriCS or

weaves that would snag.

Most other spec ia l -occasion fabrics are best seamed conventiona l ly and fi n ished with s ingle- layer overcast ing. You ' l l be del ighted to see how the serger hand les problem fabrics that fray eas i ly and what qu ick work it makes of hem m i ng big, fu l l sk irts.

Fancy Hems

Hemm i ng the large sweeping sk i rts, tu l le vei ls, and cascades of ruffles that are common i n spec ia l -occas ion and bridal wear can be a frustrati ng, t imeconsum i ng chore by hand or by the conventional mach i ne . Let the serger do the work for you . Refer

to pages 61 and 62 for how to ease a large c i rcu lar hem or prepared a narrow topstitched hem ("baby hem").

The serger a lso a l lows you to create more elaborate fancy hems and fin ishes: You can thread-trace the edge of tu l le ve i l i ng, rol l support ing monofi lament i nto a droopy fabric, or embe l l ish tiny rol led edges with decorative threads.

Create festive ribbons in fabric to match garments by serging and trimming

both edges of a strip.

Narrow Sheer Hem Some sheer fabrics such as organza and organdy fray too much for successfu l rol l hemm ing, and you wi l l need to make a narrow sheer hem.

Fold a sma l l hem al lowance.

Disengage the kn ife and stitch a 1 mm hem over the fold . Be very

carefu l not to a l low the sti tch ing l ine to waver, as too much fabric to the right of the need le w i l l rol l and cause u neven stitches.

Trim the excess fabric to the edge of the stitch ing on the wrong side.

Narrow Thread Tracing To thread-trace net and tu l le ski rts, set the serger for rol l hemm ing with a wide cutt ing width, h igh lower looper tension, and balanced need le and upper looper tensions. Start with a 1 .5mm stitch length; shorten it if the stitch i ng looks too sparse, and lengthen it if the fabric tends to

bunch under the presser foot or if the stitc h i ng looks i rregu l ar with short ends of the net pok i ng out of the hem. Garment thread may be used throughout or combined with wool ly nylon or two-ply polyester, depend ing on the amount of coverage you want. The th read w i l l stretch and cause the edge to curl s l ightly as you i ron it.

Use a narrow sheer hem to make you r own custom r ibbons! Cut strips of sheer organza or organdy and fin i sh both edges with t iny folded hems to create custom ribbons for ha i r ornaments, sashes, or gift wraps.

Tearaway stabilizer supports

metallic hem thread tracing on

sheer tulle.

Festive Detailing 79

Wide thread tracing can be applied to net and tulle.

TI PS FOR TH READ TRACING

• The bias properties of net and tu l le cause the stitched edge to curl when pressed . Set d ifferential feed to .07 to i ntensify the curl i ng effect of thread tracing, but be carefu l if you are trying to control the curl i ng with above-normal settings, as the cut ends of the net wi l l tend to escape and

protrude from the stitch ing.

• The stiffen ing properties of meta l l ic threads cause bias areas to curl in a s im i lar

fashion to monofi lament fi l l i ngs. Plan hems on the bias to achieve th is cu rled effect or on straight grain to avoid it.


Wide thread tracing

To protect you r hose from the raw edge of a net u ndersk i rt (or to match the edge of a tu l le

oversk i rt to a bod ice), overcast a wide decorative border. Omit rol l-hemming sett i ngs, select the left need le on ly, and stitch densely with a thread that covers wel l , such as rayon ri bbon or wool ly nylon.

Continuous thread tracing

To trace a continuous edge when stitch ing ve i l s and headpieces or s i m i lar sections of ve i l i ng not crossed by seams, round corners i n a large arc to create a mod ified oval shape. With the serger set at the narrowest sett i ng for rol l hemm i ng (see the top chart on p . 98), start and stop the traced outl ine at the same poi nt, us ing the cutout method descri bed on p . 45 .

•

QU ICK SQUARE PROJECT: HAI R ORNAMENT

Measure and cut severa l squares (or rectangles) of fabric, each about 4 in . by 1 2 i n . The more layers you use, the puffier the ornaments wi l l be.

Overcast a l l the raw edges of each piece with thread trac ing (pp. 79-80).

Layer the pieces together and hand-baste them together verticlaly through the center with strong thread and long stitches.

Lace Applique

Lace appl ique i s a popular fi n i sh for the hems, s leeves, and necks of spec ia l -occas ion wear, br idal gowns, s leepwear, and l i ngerie. Prepare the lace appl ique as your pattern or design d i rects. Trace the shape of the lace onto the receiv ing area of the garment, mod i fy ing extreme shapes as m uch as possi ble. F i n i sh the traced out l i ne with a n arrow, balanced th ree-thread overlock. Refer to pp. 46-47 for help with i nside and outside corners.

Mark an overlap l i ne 1/2 in. to 1 in. inside one short edge. Fold the end in, and baste the overlap l i ne to the center I ine. Repeat for the other side.

Pu l l up the basting stitches to gather all layers together.

Use your imagination ! Trim fabric scraps with one of the edgings in th is book to make quick coordi nati ng tai lored or festive hair ornaments. Or make custom ribbons (p. 79), and tie in bows.

Complete the project by hand stitching the gathered

edge of the hair ornament to a comb.

Prefinish areas that will receive applique with three-thread overlock.

Festive Detailing 8 1

MONOFI LAMENT H EM

You can give a soft, fi lmy fabric a s l ightly wiry edge by hemming over monofi lament.

Control the unruly stiff curls of monofi lament at the beginn ing of the seam by taping the end in position beh ind the presser foot. With the spool secure in a plastic freezer bag or cup, stretch the fi lament taut above the right stitch fi nger, and chain 6 in . or 7 i n . without fabric. Remove the tape after the first few inches to al low the cha in to flow freely off the

stitch fi nger.

Monofi lament is so s l ippery that it wi l l tend to pu l l out of the seam, but you can tape the beginn ing of

the fi lament thread chain to hold it in place.

A monofilament hem can give a crisp finish to the

edge of a filmy fabric.


Mark the beginn ing of the cutting l i ne on the fabric with a crease or removable marker to help gu ide your eye as you feed the fabric. Al ign the mark with the edge of the cutting blade and position the fabric

right side up underneath the fi lament.

As the fabric begins to rol l over the monofilament, use your left hand to ensure that the monofi lament moves smoothly away from the heel of the presser

foot without al lowing the fabric to bunch up over it.

At the end of the hem, cha in over the monofi lament

another 8 i n . to l O in . before passi ng it in front of the knife to cut.

Secure the end of the monofi lament with tape unti l you stitch the crossing seam.

Control monofilament by securing it with tape at

the beginning of the seam and stretching it taut as

you sew.

Gathered Ruffles

Gathering long ruffles is one of those real chores on a conventional mach i ne that the serger can e l i m i nate for you . Let it chort le away, gathering as it stitches. The ted ious chore of

pu l l i ng th reads in long edges i s completely e l i m i nated, and thoughts of breaking threads are ban ished . If you r fabric is too heavy to gather with a long stitch length and maximum d ifferent ia l

feed, you can purchase a gather ing-foot attachment that w i l l more than pay for itself after

the fi rst major project.

If you prefer soft ly d raped ruffles to very perky ones, cut the str ips to be ruffled on the b ias. Th is consumes more fabric, but i t w i l l b e wel l worth the professional result . S ince the serger secu res the gathers as it stitches, adjust you r ratios (see p. 5 3 for advice) and test on scraps before worki ng on

the garment. I t is a l so a good idea to cut some extra length to ensure that your fi n ished str ip doesn't fal l short.

Seam lengths of the ruffle str ip ( if requ i red) and hem the ruffle accord i ng to your design choice.

The serger makes quick work of a festive edge of long ruffles.

If you are not us ing a spec ia l gatheri ng foot, i ncrease the stitch length to 4mm and i ncrease the d ifferential feed to the max imum. I f you are us ing a spec ia l gathering foot, fol low the manufacturer's instructions.

Thread both need les, balance the looper and need le tensions, and stitch . The head i ng of the gathered str ip w i l l be neatly overcast, and the gathers w i l l be attractively stitched.

Overcast the receiv ing edge of the seam before joi n i ng the ruffle str ip to the garment.

Some gatheri ng feet perm it you to attach the ruffles to the fabric at the same ti me. However, this requ i res such prec ise measu r ing that it's best to gather separately and join later. Less r ipping!


1 Cut 2-in. wide bias strips, fold,

and mark the stitching line.

2 Use two-thread overcasting to cut down on the bulk of the seam

allowance on the bias strip.


Bias Tubing

B ias tub ing is a dreaded chore for many sewers. With the serger,

tubing is rid icu lously easy to make. It stitches and tr ims the t iny seam a l lowances perfectly, and s ince the stitches "give" when you

pu l l lengths r ight side out, you won 't get the popped seams that can ru i n tub i ngs sewn on the conventional mach i ne.

Cut 2- i n . wide strips of fabric on the true bias to the desi red length, plus a few i nches of i nsurance.

Fold the bias str ip in half lengthwise, wrong sides together. Measure the desi red fi n ished width from the fo ld and mark a st itch ing l i ne ( 1 ) .

Adjust the width of the bias strip and the pos it ion of the stitch ing l i ne to the stiffness, weight, and s l i pperi ness of the fabr ic. S l ippery, l ightweight fabrics turn the most eas i ly and make the th innest str ips . Stiff sat ins and brocades shou ld be wider.

Measure the desi red fin i shed width of the bias stri p and establ ish a fold guide to the left of the need le on the throat plate with a piece of arti st's tape.

Select the narrowest cutt ing width, normal stitch length, and balanced tensions. If you r mach ine has a two-thread

capab i l i ty, select th is a lso to cut down on the bu l k of the seam a l lowances (see the bottom chart on p. 98 for sett i ngs). Al low the

kn ives to tr im away whatever seam al lowance fal l s to the right of the b lade (2), keeping the fold of the bias a l igned with the taped throat plate gu ide as you stitch and overcast both layers together.

Trim the top edge of the str ip at an ang le away from the seam. Push the point of a loop tu rner through the str ip and secure the l atch

safety-p in style over the overlocked seam at the top (3). The hook should arch over the tri mmed edge, and the latch of the turner should pierce the seaml i ne about '/4 i n . below it.

After p u l l i ng the tu rner carefu l l y down i nto the tube to start the turn, hook the r ing end over one of the thread spind les, back ing slowly away to mai nta i n even tension without a l lowing the tu rner to relax its grip on the start ing edge (4). U se the tautness of the str ip as a brace to free both hands so you can prevent bunching as you work the rest of the b ias over itself. The overcast seam a l lowance remains curled i nside as a fi l l i ng. If you want th icker fi l l i ng, i ncrease the width of the seam a l lowance by i ncreasing the cutt ing width and decreasing the thread tensions.

Secure one end of the tubing to the i ron ing board us ing a p in at a 45° angle so you can pu l l i t

taut. Steam the tubing to set the stitches and straighten the seam.

B ias tub i ng wi th the seam a l lowance rol l ed i ns ide makes a very secure strap that holds wel l . Cut the proper length for spaghetti straps and sew them on as you r pattern d i rects.

3 Secure the latch of the loop

turner in one end of the bias strip.

4 Hook the ring of the loop turner over a spindle to help maintain tension

as you turn the tubing.


To make button loops, tape bias tubing over the pattern and serge it into

position on the stabilizer.


Easy Button Loops Lengths of bias tubing can replace purchased cord i ng or r ibbon when a pattern's c losings or design deta i ls ca l l for decorative laces and ties.

Mark a straight l i ne to represent the seam l ine on a p iece of stabi I i zer. Center the buttons over the l i ne, spac ing them as they w i l l b e sewn to the garment.

Mark each side and the top of the button. Remove the buttons and loop the bias so that the marki ngs

are v is ib le with i n the loop and the bias extends to the cutt ing l i ne. The loops w i l l resemble t iny croquet wickets.

Mark and cut the bias tub i ng accord i ng to the instructions that

fol low in " Buttons and F rogs."

Tape the cut loops to the stabi l izer and staystitch them in posit ion.

Al ign the raw edge of the stabi l ized loops over the buttonhole side of the c losi ng, and staystitch to the garment just i nside the sea m l i ne . Tear the stabi l izer away before fac i ng the c10si ng.

Buttons and Frogs When d ivid ing longer lengths of bias tubing i nto shorter segments for loop c losings and straps, mark the measurement of each segment

(plus desi red seam a l lowances) and use the serger to cut and fi n ish the t iny ends of each segment. Overcast ing w i l l s l ightly flatten the segment ends and make them easier to p in and stitch i nto garment seams.

• For Chi nese buttons, cut b ias tub i ng 1 6 i n . long and fol low you r d i agram for the loop formations. The tubing seaml i ne should be on top, and the loops should be relatively open wh i le you shape them . Ease and shape the loops wh i le pu l l i ng the ends to t ighten them to form the button. C l i p off excess ends a n d tack them to the button.

• For frog c losings, keep the seamed s ide up and cut the ends on top. Secure the c rossi ngs with t iny stitches, taping and stitc h i ng the frog as it forms.

• To c reate more complex frog

c los i ngs, draw you r own d i agrams. S im i lar ly tape and stitch the c ross i ngs to secu re the frog as it forms.

)

Prepare a diagram, and use bias

tubing to create buttons and frogs

in fabric to match the garment.

H ERE COMES TH E BR IDE !

Festive detai ls are particularly welcome i n bridal appl ications.

• Quick tiny hems can be used to prepare ski rts and sleeves and trains for lace appl iques or other decorative fin ishes.

• Thread-traced hems are a good fin ish for vei ls and headpieces.

• B ias button loops are often used on bridal gowns for back and wrist c losi ngs as wel l as more special ized functions such as finger loops to secure the points of Ju l iet sleeves to the hand and ski rt loops to l ift the tra in out of the way for dancing.

A thread-traced veil and Juliet finger loops can be created with

the serger.


Working with Delicate Fabrics


Delicate fabrics include lightweight silks, airy voiles, sheer

chiffons, laces, thin crepes, and gossamer batistes. When

lightweight fabriCS are also sheer, the seamfinishes are

visible through the fabriC and must be considered part of

the design.

The serger is so effective and speedy at rol l i ng hems and sewing t iny seams that you can rather surpris ingly depend on i t for most of your del icate-fabric construction chores. I t sews and fin i shes ha i rl ine seams that are fi ne enough for even the most d iscern ing eye, wh i le offer ing sturdy construction security and enhancing a i ry fabrics.

Combine l ightweight threads that withstand h igh tension without break ing and garment th read for construction seams or

i nv is ib ly joi n i ng lace. Reserve the conventional mach ine for z igzagg ing t iny topstitched seams to m iter corners and for staystitch i ng d ifficu lt areas before serging.

Whet you r appetite for serg ing

del icates by making a rea l ly easy s i l k scarf, which is s imply ro l l

hemmed on a l l fou r s ides, before moving on to more cha l lenging projects such as l i ngerie, s leepwear, and even christen ing dresses. Your serger w i l l save you t ime and help create more professional- looki ng resu lts.

QU ICK SQUARE PROJECT: SCARF

You c a n create an i mpressive, nearly instant scarf from a prepri nted scarf print (sold by the yard) or any sol id color or appea l i ng print. Some fabric stores carry bordered scarf pri nts, or try an a l l -over pr int of s i l k crepe de ch ine or chiffon that coord i nates with you r wardrobe.

Tri m the purchased scarf panel or cut a square of fabric to the des i red size.

Edge al l four s ides with rol l a plain rol l ed hem (p . 62). Corners shou ld be tr immed accord i ng to the instructions on pp. 46-47 and sewn conti nuously by clearing the stitch fi ngers (p. 44).

Run threads in neatly.

TI PS FOR

CHOOSING

TH READ

You r thread choice is a design decis ion that depends on the effect you want to ach ieve.

• To accent a color or create a contrast i ng border, use threads that prov ide maximum coverage, such as wool ly nylon or r ibbon, i n both l oopers and a dense stitch length, such as 2mm. Use garment thread in the need le.

• For m i n i mal coverage to blend i nto the background color, select two-ply pol yester for the loopers and garment thread or two-ply polyester for the need le. Increase the st itch length for less dense stitch i ng, but not so far as to let unsightly threads escape from the rol led hem . However, s ince scarves are usua l l y cut and rol led on straight gra ins, and s i lk is a c lose weave, stray threads w i l l not usual ly be a problem .

• For custom effects or to harmonize with strong pri nts, change thread colors as appropri ate to each side. I f you change colors for custom effects, the ends must be ru n in (p. 50).

Working with Delicate Fabrics 89


C amisole and Tap Pants

Any l i ngerie fabric is su itable for th is cam isole and tap-pants set: charmeuse, tricot, l ightweight crepe-back sat in , or voi le . The only tr icky part i s the front shaping of the camisole. You can save t ime here by selecti ng a pattern without much shaping.

E ither way, the project shou ld take no more than a pleasant morn i ng's or even i ng's work, from cutt ing out to fin ish ing.

With th is and s im i lar projects, seam ing and fin ish ing can be done s imu ltaneously us ing ha i rl i ne seam techn iques that are fine enough for the most d iscern ing eye, add i mmeasurably to the design effect of sheers, and offer sturdy construction security.

Transfer these techn iques to a n ightie or handkerch ief, use your conventional z igzag to m iter corners (pp. 94-95), and you have a lovely gift for any fem i n i ne

celebration such as Mother's Day or a bridal shower.

Jo in pre l i m inary seams: Us ing the

b ias ha i rl i ne seam (p. 5 7), jo in the first s ide seam of the camisole and the center front and side seams of the tap pants, seaming nearly cont inuously. C l ip the pieces apart after seam i ng, then press. Leave one side seam of the cam isole and the center back and crotch seams of the pants

open so you can complete the l ace assembly on the flat.

Prepare the trim assembly : To create a stri p of your laces, total the measurements of a l l areas to b e trimmed. For the camiso le and tap pants, measure both leg open ings of the pants and the top and bottom edges of the cam isole. Cut the lace str ips to equal the total measu rement p lus 1 2 i n .

Starch and press the lace before serg ing the seam. Rotate the upper kn ife out of posit ion (1 ), and serge with the two-th read i nvis ib le seam (see the bottom chart on p. 98) .

Staystitch the l ace to the seaml i ne at the conventional mach ine us ing a normal stitch length of 8 to 1 0 stitches per inch and a s l i ghtly relaxed upper-thread tens ion. To tri m the bottom of the cam isole and the legs of the pants, cut one length of the lace assembly to fit each leg ope n i ng and another to fit the bottom of

the camisole. Serge as before; you may opt to staystitch conventiona l ly or not, depend i n g on your confidence and experience. Aga i n press the hem away from the fabric and toward the lace to avoid bu lk .

1 Serge the lace with a two-thread invisible seam, with the upper knife

rotated out of position.

SAVE TIME BY WORKING I N U N ITS

Thi nking of the two garments as one un it wi l l help save time rethread ing and changing serger settings.

Plan to join as many seams as possible, assemblyl i ne fashion, cha in ing each new seam without cutt ing the chain between sections, before moving on to detai led areas.

L ikewise, when working with bands of joi ned laces or trims, save time by assembl ing one long continuous strip of joi ned laces, then apply and trim to garment measurements as requ i red.

The sides of the tap pants can be serged in series

without cutting thread or pausing between sections.

Working with Delicate Fabrics 9 1

2 Mark the seamline with a water-soluble marker.

3 Prepare the top edge of the camisole by marking the seamline, trimminK

and centering the lace pattern.


Prepare the bust poi nts : Starch the camisole and l ightly mark the seaml i ne on the right side of the fabric with a water-so luble fabric marker (2).

Cut a t iny square from the point of the seam a l lowance over the left bust, a l ign ing one corner of the cutout with the apex of the point. Cut a s im i lar square from the r ight-bust seam a l lowance. Further tri m the seam a l lowance to 3mm for 2 i n . on the underarm s ide of the r ight-bust point apex. The tr immed area w i l l resemble

an L shape.

Prepare the center front: S lash the seam a l lowance to the seam l i ne at center front. Spread the s lashed seam a l lowance flat so the raw edge forms a stra ight l i ne between the two points, a l lowing the rest of the fabric to rad iate out from the s lash and form a large fold below it.

Cut a strip of the l ace assembly to equal the point-to-point l i ne p lus 4 i n . , a l ign ing the center of the lace pattern with the s lash at center front (3).

Conventiona l ly staystitch the lace to the camisole as you d id to the leg open i ng. To ensu re that the st itc h i ng area is c lear at the beg i n n i ng and end of the seam, make an "a i rplane fold"-fold the

ends of the lace and underarm side of the left bust-poi nt seam a l lowance away from the bustpoint cutouts at a 45° angle (4). Stabi l ize the fold with artist's tape

or p ins .

S im i lar ly, return to the serger to rol l-hem the lace to the cam isole between the bust points (5). To rol l-hem the lace to the cam isole at the serger, i ncrease cutting width to 3mm and set the mach i ne for rol l hemming. L ift the presser foot and pos ition the need le carefu l ly at the beg i n n i ng of the seam over the left bust point, being sure not to stitch through the header of the l ace that extends beyond the fabric. Use s im i lar caution at the end of the seam.

Aga in , press the hem toward the lace so the header of the lace remains flat and fabric rol l s over it in a receiving hem.

To tri m the underarm and back of the cam iso le, c lose the rem a i n i ng side seam and restarch the camisole and fina l str ip of the lace assembly. P in the lace arou nd the back and underarms of the camisole top from bust poi nt to bust poi nt, centering the pattern at center back and al lowing the ends of the lace to extend over the previously stitched center port ion.

4 After clipping the center, spread the camisole top in a straight line and

tape the lace into position.

5 Roll-hem the lace to the camisole between bust points. Fold the ends of

the lace out of the way so you won't stitch them into the seam allowance.


6 Fold the ends of the lace out of the way at the start of the underarm seam

on both sides of the corner so they won 't be caught in the stitching.

7 With the stitch fingers cleared, position the folded lace at the start of the

underarm seam under the needle with the L portion of the cutout flush with

the inside of the lower knife blade.


Again , staystitch the lace from bust point to bust po i nt arou nd the back and underarm of the top. Fold the fabric and lace out

of the way at the apex of each corner (6), as you d id previously.

Return to the serger, c lear the stitch fi ngers and raise the presser foot and need le. Pos ition the apex of the left bust-poi nt cutout d i rectly u nder the need le with the L portion of the cutout f lush aga inst the ins ide of the lower kn ife b lade (7). Serge the hem lace to the camisole as before, being carefu l not to stitch through the header of lace at the end of the seam over the right bust point.

To m iter the corners at the center front, press a l l hems toward the lace, arranging excess lace at the center i nto a fold so the fo ld l i ne extends vert ica l l y upward beyond the center front of the cam isole (8) •

•

8 Miter the corners at center front,

pressing the lace so the fold lines

are vertical.

To fi n ish the bust poi nts, lap the ends of the l ace over each other, aga i n posit ion ing the fold to extend vertica l ly above the bust poi nt. Start ing at the fabric edge and work ing to the outside, use the conventional mach i ne to edgestitch the m i ters i n a t iny z igzag ha i rl i ne seam. ( Loosen ing the u pper-thread tension and decreasing the stitch length wi l l a l low the stitches to s ink i nto the l ace and d isappear.)

Us ing very sharp embroidery scissors, tr im excess lace c lose to the z igzag stitc h i ng (9).

To make straps for the cam isole, thread r ibbon through lace bead i ng. Trace the outl i ne of the bust points onto the beading assembly and overcast the outl i ne.

Pin the prepared strap to the camisole, match ing the center of the bead ing to the center of the bust point and the flatlocked edge to the i n ner edge of the rol l hem. Edgestitch i n the d itch to secure, and hand-tack the lace to the strap at the poi nt. Try on the camisole to adjust the length of the strap before fin i sh ing the back edge of the strap and secur ing it to the camisole.

Embe l l ish the center front of the cam isole with a r ibbon bow, which can be made by looping r ibbon arou nd the spind les of the serger. Pass the free end around beh i nd the loops and tie in front. Remove the bow from the spind les and tr im the ends d i agonal ly (1 0).

Press the elastic-cas ing a l lowance i nto an S-shaped fold at the top of the pants, as descr ibed on p. 5 2 .

9 Trim excess lace close to the zigzag stitching.

Loosen the need le tension fu l l y, and loosen the looper tensions moderately. I ncrease the stitch length to 4mm, set the b l i nd

hemmer gu ide if you have one, and serge, lett ing the need le bare ly penetrate the folded edge of the fabric as it overcasts the raw edge. The cutt ing width shou ld be normal to support overcast ing. Open the fold and press flat. F i l l the cas ing with e lastic .

Retu rn the serger to b ias-hairl i ne sett i ngs, and c lose the fi na l seam at center back and crotch .

Don't try to fi n ish lace or r ibbon edges with a rol l hem. The l ace threads are too far apart, patterned areas are too i rregular for a smooth hem, and r ibbons are just too bu l ky to rol l wel l . I nstead, flatlock the raw edge of r ibbon or lace with a narrow cutt i ng width and a sma l l stitch length.

10 Tie a decorative bow for the

front of the camisole and trim the

ends of the beaded lace.

When sew i ng lace, r ibbon, or other prefi n ished edges, rotate the upper kn i fe out of posit ion to remove any danger of accidenta l l y trim m i ng the edge, and stitch as usua l .


Photo Index

Basics

This photo index will help you to review and compare

serger seams andfinishes, and to locate them in the book.

You will see at a glance various treatments you can use,

grouped under five headings: basics, hems, utility and

decorative stitches, specialty stitches, and complete

projects. Where appropriate, photos are accompanied by

a chart with the serger settings that produced the stitch.

BASIC F O U R-TH READ S E RG E D S EAM N EE DLES/

TENSION l

See page 56.

96

LOOPERS TH READ

Left needle Garment th read

Right needle Garment thread

Upper looper Garment thread

Lower looper Garment th read

S ERGER SETTINGS

Normal I

Normal

Normal

Normal

Stitch length Normal (2mm to 3mm)

Cutt ing width Normal for fabric

Differential feed Normal

N EE DLES/ LOOPERS

Left needle

Right needle

Upper looper

Lower looper

TH READ

Garment thread

Garment th read

Wool l y nylon

Wool ly nylon

SERGER SETTI NGS

Stitch length 3mm to 3 . S m m

TENSION

Normal

Normal

Balanced

Balanced

Cutt ing width Balance to weight of fabric

Differential feed Normal u n less fabric waves

Optional setti ngs Use rol l-hem sett ing for l ight knits

.----

N EE DLES/ TH READ TENSION LOOPERS

� --Left needle Omit (for wider

seams, thread the

left needle and

omit the right)

!-- -- - --Right need le Garment thread Normal

Upper looper Garment thread Normal

!- -Lower looper Garment thread Normal

SERG E R S ETTINGS

Stitch length Normal (2mm to 3 m m)

I-- - -Cutt ing width Normal for fabric

[ -t-- -

Differential feed Normal u n l ess fabric puckers ---

F O U R-TH READ S EAM FOR L 1 G HTW E I G HT KN ITS

See the discussion of overstitching, which begins on

page 5 7 .

BASIC T H R E E-TH READ S EAM

See page 56.

Photo Index 97

TWO-TH R EAD RO L L E D S EAM

See page 57.

TWO-TH READ S EAM

FOR J O I N 1 NG LAC E

�

See page 9 7 .

98 Photo Index

N EEDLES/ LOOPERS

Left needle

THREAD tTENSION

Omit

Right needle ! Garment thread

Upper looper Bypass

Lower looper Clear nylon

SERG E R S ETTINGS

Normal

H igh

�

l

Stitch length 2 m m to 2 .5mm

Cutt ing width Widest (3mm)

Differential feed Normal u n less fabric puckers

Optional setti ngs Adjust serger for rol l hem m i ng; for

th ree-th read rol led seam, th read

upper looper with clear nylon

u nder high tension.

N EEDLES/ I TH READ _ j TENSION LOOPERS

Left needle Omit

R ight needle Garment th read

Upper looper Bypass

Lower looper Garment thread

SERGER SETTINGS

Stitch length 2 m m

Normal

Normal

Cutting width Disengage upper kn ife

Differential feed .07 to prevent cur l ing

Optional setti ngs Adjust serger for rol l hem m i ng

N E E DLES/ r TH READ LOOPERS

t -

Left needle Omit

r Right needle Garment th read

Upper looper Bypass

Lower looper Wool ly nylon

SERGER SETTI NGS l- -

Stitch length 2 . S m m to 3mm

I

Cutting width Narrowest ( 1 mm)

F R E N C H SEAM TENSION

Normal

H igh

Differential feed Normal u n less fabric puckers See page 58.

Optional settings Adjust serger for rol l hem m i ng J

Hems

N EEDLES/ LOOPERS

Left needle

Right need le

Upper looper

TH READ

Omit 1 Garment th read

Garment th read

Lower looper Garment thread

rsERG E R SETTI NGS

TENSION

Normal

Normal

Normal

l Stitch length

Cutting width

Normal (2mm to 3mm)

Normal for fabric

Differential feed Above normal for easi ng,

or normal

EAS E D OVE R LOC K H EM

See page 6 7 .

Photo Index 99

BASIC ROL L E D H EM N E E DLES/ I TH READ TENSION LOOPERS

Left needle Omit

Right needle Garment th read Normal

Upper looper

I Lightweight, such Normal

as two-ply poly

Lower looper I Wool ly nylon High

SERGER SETTI NGS

Stitch length 2 m m to 2 . 5 m m

f--Cutting width Wide

See page 62. -D ifferential feed Normal u n less fabric puckers

-Optional setti ngs Adjust serger for rol l hemming

ROL L E D RECEIVI N G H EM I N E E DLES/ TH READ TENSION LOOPERS I -- --

Left needle Omit

Right needle Garment thread Normal

Upper looper I Wool ly nylon High

Lower looper Wool l y nylon High

I L- '--

I SERGER SETTI NGS

I

I Stitch length To suit fabric

I --

Cutting width Widest (3mm)

See page 62. I Differential feed

f---Normal u n less fabric puckers

�Ptional setti ngs I Adjust serger for rol l hemming

100 Photo Index

N EE DLES/ LOOPERS

Left needle

Right needle

Upper looper

Lower looper

TH READ

Omit

Harmon iz ing

Wool ly nylon

Wool ly nylon

TENSIO� 1

Normal

Normal

Fairly h igh

SERGER SETTI NGS

Stitch length

Cutting width

Differential feed

N EE DLES/ LOOPERS

Left needle

Right needle

Upper looper

�ower looper

2 m m

Normal for fabric

.07 below normal to pul l fabric

TH READ TENSION

Omit

To suit coverage Normal

To suit coverage Balanced

To suit coverage H igh

SERGER SETTINGS

Stitch length 2mm

Cutt ing width Widest (3mm)

L ETTU C E-E D G E H EM

See page 63.

MO N O F I LAM E N T H EM

Differential feed Normal un less fabric puckers See page 82.

Optional setti ngs Adj ust serger for rol l hem m i ng J

Photo Index 101

B L I N D H EM

\ \

See page 63.

102 Photo Index

N EEDLES/ LOOPERS

Left needle

Right needle

U pper looper

Lower looper

TH READ�ENSIO� Garment th read Fair ly low

Omit

Garment th read SI ightly low

Garment th read Fair ly h igh

SERGER SETTI NGS

Stitch length Med i u m to long

Cutting width Normal

Differential feed Normal

Utility and Decorative Stitches

N EEDLES/ TH READ TENSION LOOPERS

S I N G L E-LAYER OVE RCASTI N G

Left needle Omit


Upper looper Garment th read Normal

Lower looper Garment th read Normal

SERGER SETIINGS

Stitch length 2 . S m m to 3mm

Cutting width Normal for fabric

Differential feed Normal See page 60.

N EE DLES/ TH READ TENSION LOOPERS

MOC K H O N G KO N G F I N I S H

Left needle Omit


Upper looper Wool ly nylon Balanced

Lower looper Wool ly nylon Balanced

SERGER SETII NGS

Stitch length 1 .Smm to 2 m m for coverage

Cutti ng width Balance to weight of fabric

Differential feed Normal u n less fabric puckers See page 77.

Photo Index 103

BAS IC T U C KS N EE DLES/

TH READ TENSION LOOPERS

Left needle Omit

R ight needle Garment thread Normal

Upper looper Bypass

Lower looper Garment thread Normal

SERGER SETTINGS

Stitch length 3 m m

Cutt ing width Balance to weight of fabric

See pages 70-72. Differential feed .07

Optional setti ngs Use rol l -hem setting for l ight kn its

DECORATIVE TUCKS NEEDLES/

TH READ TENSION LOOPERS

Left needle Garment thread Normal

Right needle Garment thread Normal

Upper looper Decorative th read H igh

Lower looper Garment thread Low

SERGER SETTINGS

Stitch length Moderatel ly dense (2mm)

Cutti ng width Balance to weight of fabric

See pages 70-72. Differential feed .07

Optional setti ngs Use rol l -hem setting for very

narrow tucks; use edge-stitch i ng

attach ment to help control

fold l i ne

104 Photo Index

N EE D LES/ TH READ TENSION

LOOPERS

D ECO RATIVE F LATLOC K I N G

Left needle Garment thread Fai rly low

Right needle Omit

Upper looper Wool ly nylon S l ightly low

Lower looper Contrast Fair ly high

SERGER SETIINGS

Stitch length Med i u m (adjust so nylon fl uffs up)

Cutting width Narrowest ( 1 mm)

Differential feed Normal See pages 58 and 73.

N E E D LES/ THREAD TENSION

LOOPERS

D ECO RATIVE CHAI N I N G

Left needle Garment or Normal

accent thread

Right needle Garment or Normal

accent thread

Upper looper Decorative thread Low

Lower looper Garment or H igh

accent thread

SERGER SETTINGS

Stitch length Increase so tri m w i l l not bunch

up on stitch fingers See page 74.

Cutting width Balance to weight of fabric

Differential feed .07

Photo Index 105

Specialty Stitches

Sewing Elastic

See pages 52-53.

Gathering

See page 54.

Plackets

See page 48.

106 Photo Index

Decorative Edging

See page 73.

Metallic Th rea d-Traced Hem

See pages 79-80.

Gathered Ruffles

See page 83.

Photo Index 107

Complete Proj ects

Quick Scarf

See page 89.

Quick Cowl Neck

See page 67.

Quick Eyeglass Case

See page 76.

108 Photo Index

Quick Hair Ornament

See page 8 1 .

Camisole and Tap Pants

See pages 90-95.

Elegant Silk Knit Top

See pages 67-69.

Photo Index 109

Index A Angling on and off, technique for,

42 Applique, lace, 8 1

B Basting:

glue as, 33 starch as, 33 tape as, 33

Bridalwear, serged accents for, 87 Button loops, of bias tubing, 86

See also Frogs. Buttons, of bias tubing, 86-87

c Camisole and tap pants,

instructions for, 90-95 Chaining:

decorative, 74 setting chart for, 1 05

at start and end of seam, 1 9 Corners:

inside, 47 mitered, 84 outside,

one-needle method for, 46-47 two-needle method for, 46

Curves: inside, 46 outside, 46

Cutting width: adjusting, 2 1 changing, 40 defined, 2 1 , 40

E Edges finished together, technique

for, 59 Edgings, decorative, 63, 73 Elastic, serger application of, 52-53 Eyeglass case, instructions for, 76

1 10

F Fabric:

delicate, 88 guiding, 39-41 hea vyweight, 26, 27 lightweight, 26, 27 medium-weight, 26, 27 See also Knits.

Feed dogs: described, 1 2 differential feed for, 1 6- 1 7 as fabric guide, 1 9

Finishes: fancy, 78 mock Hong Kong, 77

setting chart for, 1 03 See also Hems; Thread tracing.

Finishing: of lace edges, 95 of ribbon edges, 95

Flatlocking, decorative, 73-74 setting chart for, 1 05 tips for, 73

Frogs, of bias tubing, 87

G Gathering, technique for, 54 Gathering ratios, testing, 54 Guiding, practice techniques for,

39-4 1

H Hair ornament, instructions for, 8 1 Hems:

blind, 63 setting chart for, 1 02

deep circular, 6 1 eased overlock, setting chart for,

99 fancy, 78 lettuce-edge, 63

setting chart for, 10 1 monofilament, 82

setting chart for, 10 1 narrow, 6 1 narrow sheer, 79

plain rolled, 62 basic rolled, setting chart for,

1 00 rolled receiving, 62

setting chart for, 1 00 two-step turned, 6 1 See also Seams.

Holding grain, technique for, 49

Ironing-board cover, serged, 35

K Knit top, instructions for, 67-69 Knits:

described, 26 types of, 66

Knives:

L

bypassing, by avoiding, 43 by folding on, 45 by making a cutout, 45

described, 1 1 replacing, 22

Lace: edge-finishing tip for, 95 stabilizing, with starch, 33 two-thread seam for, 98 See also Hems, rolled receiving.

Lint, removing, 23 Loopers:

described, 12, 1 3 tension adjustments for, 20 and threading options, 1 5

M Machine easing, technique for, 49 Monograms, chained, 75

N Needles:

described, 1 2 , 1 3 and fabric weight, 3 1 for natural fibers, 3 1 replacing, 22 storing, 56 for synthetic fibers, 3 1 tension adjustments for, 20 and threading options, 1 5

o Overcasting:

framing with, 60 single-layer, 60

setting chart for, 1 03 at start and end of seam, 5 1 See also Seams.

p Pins, placing, 32 Plackets:

lace-edged, 48 decorative overcast, 48

Pockets, topstitched, 77 Press cloth:

organdy as, 35 paper towel as, 35

Presser feet: as guiding aid, 39, 4 1 pressure adjustment for, 1 7 specialized, 1 7

Puckering, remedy for, 1 6 , 49

R Ribbons:

custom, 79 edge-fmishing tip for, 95

Ruffles, gathered, 83

5 Scarf:

cowl-neck, instructions for, 67 silk, instructions for, 89

Seams: basic four-thread, 56

setting chart for, 96 basic three-thread, 56

setting chart for, 97 bias hairline, 57 circular, 42 continuous, 42 ending, 50, 5 1 finishes for, 59-69 flatlocked decorative, 58 four-thread, for lightweight

knits, setting chart for, 97 French, 58

setting chart for, 99 hairline, 56-57 starting, 5 1 thread accents for, 70 three-thread rolled, 57 two-thread, for joining lace,

setting chart for, 98 two-thread rolled, 57

setting chart for, 98 See also Hems.

Sergers, vs. conventional sewing machines, 8

Sewing taut, technique for, 49 Stabilizer:

starch as, 33 water-soluble, 35

Stitch fingers: cle aring, 43, 44 described, 1 3

Stitch length, adjusting, 22 Stitching:

instructions for, 19 ripping out, 53

Straps: of bias tubing, 85 of ribbon and lace, 95

Stretching, remedy for, 1 7

T Tape, bias tricot, 34 Tension, adjusting, 20 Thread:

changing, 29 decorative, 30 for delicate fabrics, 88, 89 fusible, 34 nylon filament, 28 polyester, 28 slubbed, disadvised, 30 utility vs. decorative, 28 woolly nylon, 28

Thread guides, discussed, 1 1 Threading:

and effect on stitches, 1 5 hints for, 1 8- 1 9 tips for, 29

Thread traCing: for bias fabriCS, 80 continuous, 80 narrow, 79 wide, 80

Throat plates, as serger accessories, 1 7

Trimming width, defined, 40 Tubing, bias:

for button loops, 86 for straps, 85 technique for, 84-85

Tucks: basic, setting chart for, 1 04 decorative, setting chart for, 1 04 overcast, 70-7 1

u Unjamming, technique for, 23

w Waistbands, finish for, 77

Index 1 1 1

Look for these and other Threads books at

your local bookstore or sewing retailer.

American Country Needlepoint

Beyond the Pattern: Great Sewing Techniques for Clothing

Couture Sewing Techniques

Distinctive Details: Great Embellishment Techniques for Clothing

Easy Guide to Sewing Blouses

Easy Guide to Sewing Jackets

Easy Guide to Sewing Skirts

50 Heirloom Buttons to Make: A Gallery of Decorative Fabric, NeedleLace, Crochet, and Ribbon and Braid Closures You Can Create

Fine Machine Sewing: Easy Ways to Get the Look of Hand Finishing and Embellishing

Fit and Fabric

Fitting Solutions: Pattern-Altering Tips for Garments that Fit

Fitting Your Figure

Great Quilting Techniques

Great Sewn Clothes

Jackets, Coats and Suits

Knitted Sweater Style: Inspirations in Color

Knitting Tips & Trade Secrets

Quilts and Quilting

Sewing Tips & Trade Secrets

Sh irtma king

Techniques for Casual Clothes

For a catalog of the complete line of Threads books and videos, write to

The Taunton Press, P.O. Box 5506, Newtown, CT 06470-5506.

Easy Guide to

Serging Fine Fabrics

Taunton B O O K S & V I D E O S

for fellow enthusiasts $ 1 7.95 U.S.

Have you bought a serger, but haven't yet learned how to use it?

Do you own one, but know that it could do more if you only knew

how? This is the book for everyone who owns or has considered

buying the versatile and efficient serger. With valuable technical

information, and more than 1 30 photos to clarifY every step, this

new volume in the Sewing Companion Library will gUide you

through everything you need to know to get the most out of your

machine, including how to:

• thread your serger right every time

• find the machine settings, needles and thread that

suit your Jabric

• make Janey edges and hems that only a serger can do

• choose and use the notions that work best

• turn inside and outside corners perfectly

• work with sheer Jabrics and lace

• make aJancy braid or a custom ribbon to match your garment

• sew easy bias tubing, and much more.

Easy Guide to Serging Fine Fabrics will give you what you need to

know to get the most from your serger.

ABOUT T H E AUTHOR Kitty Benton has extensive industrial sewing experience, and owns

her own children's wear company, with her patterns licensed to

McCall's. She lectures and teaches around the country, has writ

ten two previous books, and is a contributor to Threads magazine.

She lives in New York City.

m » z

I SBN 1 -561 58-090-2

9 0 0 0 0 >

9 7 8 1 5 6 1 5 80 9 0 3 Taunton Product # 07021 4

Easy Guide to Serging Fine Fabrics

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